From the performative painting field, I am inspired by the classic action work of Jackson Pollock, Yves Klein, Georges Mathieu and the lesser-known authors Cinzia Fiaschi and Caroline Denervaud to list some examples.
For action painting, coined in 1952 by American critic Harold Rosenberg, the essential constitutive element is physical engagement, bodily gesture. What is happening is no longer merely an image, but also a record of physical activity.
More than a generation younger, artist Matthew Barney has been creating situations called “Drawing Restraint” since 1987, in which he attempts to overcome the established canons of drawing by using designed systems that put the author himself in physically and mentally demanding situations. He compares the artist to an athlete whose muscles grow when overcoming physical obstacles.
The field of drawing or action painting is then penetrated by performances by artists whose focus lies in dance and acrobatic practice (Czech artists, for example, Eliška Brtnická).
By connecting these disciplines within the Flying project, an “action acrobatic watercolor painting” is created, which explores the possible crossing of boundaries in painting and the transformation of choreographic physical performance, when the painting process itself is transformed into a performative act.
Here, painting is no longer just a technique; you also get to experience physical realm and physical endurance. The process of painting becomes a ritual, in which every brushstroke or every touch of paint becomes part of an action that is an expression not only of an artistic vision, but also of a personal challenge. Just as in the performative acts of acrobatics, where every movement requires precision and the interplay of the body with space, in painting every action becomes a dialogue between hand, tool, and canvas. This process becomes highly physical, in which not only aesthetic value is invested in the image, but also exhaustion, tension, falls, and jumps.
“Flying” thus becomes a metaphor for the process of creation itself, with the artist literally taking off, leaving a trace that is also a record of their physical effort.
When working with acrobatics, especially in aerial disciplines such as aerial hoop and aerial silks, the movement of the body in space is a fundamental tool for creating composition and communication. In these disciplines, every movement is highly controlled, but at the same time it offers the possibility of improvisation and unexpected discoveries. The term “flying” therefore refers not only to the acrobatics themselves, but also to freedom within the creative process.
In addition to action painting and acrobatics, this project also combines elements of improvisation, which brings elements of the unexpected to each performance. It is the unplanned moments and the body’s reactions to the situation that constitute an important element of the overall composition. When the artist moves in the air, when his body hovers above the painting surface, each movement is a record of an immediate experience and at the same time a creative act. This spontaneity enriches the entire process with new dimensions that can never be precisely planned or controlled.
In this context, it is important that the project does not only lead to a visual or physical result, but also to personal development and deeper reflections on bodily expression. In this, the artist not only creates, but also goes through his own challenges and overcomes them. This process is essentially the embodiment of internal tension, which materializes in movement, in painting and in the patterns he creates. When acrobatics and painting are combined, the question arises whether the resulting image can be just an object, or whether it also becomes an actor in the story itself – something alive that responds to the creator’s bodily experiences. Painting is thus not just an end result, but itself becomes a process in which the body and mind connect to create a new image of reality. This project shows how it is possible to combine technical skill with inner freedom, and how to discover new ways of expression through the body and movement that would otherwise remain elusive.
