I heard that David Vojtuš uses recycled material. With the addition that he does not do so to demonstrate his ecological integrity, but because recycled material can be a prism through which to see some neglected parts of our present. Many say that David Vojtuš rejects clearly identifiable topics, does not narrate, does not display, does not illustrate. It is said that he strives to build material analogies, because lifestyle and culture are connected with matter, with its slow and fast transformation, with burning and pupal emergence.

I received an email in which one user complained that the time had become a constant and frustrating update. Moreover, David Vojtuš is caught in better and even better versions of this best of possible worlds. His time spans a rainbow between Industry 2.0 and the independent, diligent craftsmen of the Hapsburg monarchy. His work is a small effort on reconciliation and revolt. Long distances and near horizons.

There are rumours in artistic corridors that David Vojtuš replaces the consumed technical functionality of objects and invents a new aesthetic for them. He thus builds kinds of totems for a tribe of technological innovations, where the basic emotional setting of its members is melancholy, because they already anticipate possible future ends on the island of this world. Nostalgia of rituals.

Text by Marek Meduna, Hedvika Ocaskova

All images copyright and courtesy of the artist and stone projects