Josef Pepa Luňáček (1965)
Action and abstract painting (abstract expressionism)
"Everything has its place. Everything has its time. Our movements are as if led by someone else. I always know exactly which color to choose, how to thin it, where to put it on the canvas." At least a few sentences from a personal testimony of Josef Luňáček. Everything happened in the past three years when excitement and contentment from the paint running down the canvas came together. Even before finishing a painting Josef knew what would be in the next three. Colleagues have compared him to Jackson Pollock (1912-1956). Josef Luňáček had not previously heard about American artist Pollock and his automatistic theory of surrealism. He has now learned and knows that when he is looking at Pollock, it is as if he were looking at himself. The same facial expression, similar gestures, similar technique and similar canvas surfaces. Modesty is and is not appropriate here. They did not know of each other. They met in a different time and in a different place. They are connected through work created with respect and humility. Josef Luňáček is a member of the Union of Visual Artists of Olomouc. He has exhibitions in Olomouc, Prague and Bratislava. His large-scale works decorate the interiors of public buildings, companies, offices, congress halls and hotels. His artwork can be found in private collections.
Josef Pepa Luňáček breaks through the Czech artistic community primarily with his spontaneous engagement, which is based on his distinctive artistic expression. He is a painter who is recognizable and identifiable. Although he does not necessarily sign all of his works, when trying to identify the creator, it is possible to definitively respond – “This is Luňáček”.
The path leading to the painter's artistic expression is built, besides other things, on mastering the art and working with colors on large-scale projects. His restoration experience at the Vlastivědné ('Regional') Museum in Olomouc brought him to ancient techniques all the way from casting artificial marble to previously fashionable tie-dyeing as early as 30 years ago. He also got to know a wide variety of decorative techniques, and especially the behavior of technical colors. The knowledge of color technology allows him to create canvases with a color depth of five, six or more layers while at the same time maintaining the painting’s long-term color stability.
In the last few years, Josef Luňáček went through a personality transformation towards his artistic expression. A craft workshop turned into a studio. He went through a transformation recorded many times in the history of art. From here there were only a few steps to the reception of his exhibitions, an invitation to the Union of Visual Artists of Olomouc and to more exhibitions – the latest one being in Patro Gallery in Olomouc (Opletalova Street), which, in November 2015, will present his first partial collection right in his hometown.
His art is, in all its brevity, characterizable as action abstract expression. At an exhibition of Luňáček's paintings in the Latin Art Gallery in Prague in March of 2015, one of the attending critics assessed Luňáček’s work to be the most extraordinary surprise of abstract expressionism in Czechoslovakia and Czech Republic since the 1960s.
Tomáš Luňáček (1984), even before graduating from a business and travel high school, gained practical experience allowing him to combine his crafting capabilities and honesty with artistic communication. In his creative expression, which relates among other things to his long-term interest in the origins of the human race and the oldest of cultures, he simultaneously acknowledges his father’s work coming from both the workshop and the studio.
His imagination and craftsmanship meet halfway in his work, on the other there is the lure of the past and an artistic polemic with scientific truths. The second decade of the 21st century opened the gates for his imagination. His art transformed into decorations and plastic wall art. Knowledge of the technological possibilities of building materials allows him to compose three-dimensional canvases, which ultimately lean towards being sculptural works.
For Tomáš Luňáček, the third dimension is simply a distinctive path toward the content itself being communicated, toward the message which is being delivered by it – in the fourth dimension. His distinctive fantasy characters and heads or faces inspired by sci-fi or film fantasy attest to the creator’s inner world. Through artistic expression, he considers answers to the fundamental questions about being: Who were the first people? Time travelers from the universe? What do ancient civilizations say to us? In this context, Tomáš's work is artistically and meditatively identifiable.
Petr Luňáček (1992), a native of Olomouc, graduated from a construction high school. He appreciated the creativity of the construction craft and instinctively shifted toward his own, artistic work. He received professional as well as practical training in the workshop which simultaneously functioned as his father Josef’s studio. Here he first experienced the magic of colors and their mixing, applying colors and their final effect.
Should there be a point in time which moves our attempts forward and at the same time tells the people around us the direction we would like to move in, then this metaphorical bridge into new ways for Petr Luňáček happened in 2014. At this time, the experience and skills he had gained came together with his artistic imagination. Knowledge of construction and painting techniques including the technical and technological possibilities currently drive him to use screed concrete and express himself through poured paint. In the result are wedded the technological experiment (the form) with the fragile content being communicated.
Petr Luňáček develops new variants inspired by Josef Luňáček’s work. At the same time he sets his own course, which at this stage of the creator's attempts could be characterized using the adjective – cosmic. The cosmos is mirrored on his canvas, which reflects and characterizes the painter’s soul opening slightly.