The References


I have been following the conceptual artwork of Jitka Anlaufova (born 1962) since the beginning of the nineties, when this graduate of the Art Academy in Prague has started to present her paintings on joint and individual exhibitions of the Art Academy in galleries in Prague. Especially I have appreciated her collections of contemporary abstract paintings, which are regularly exhibited in the private gallery Via Art in Prague.

Up until now, the artwork of Jitka Anlaufova concentrate on purely abstract topics. During the nineties, the painter created a number of paintings with abstract geometric forms, biopositive attributes of diverse structures of organic matter and energy of horizontal and vertical strips of monochromous painting. Paintings like Landscapes, depicting for example energetic fields of internal landscapes, or painting No name, the viewer encounters exceptionally excellent painting style recording the painting as a collection of spiritual and art principles expressed by harmony of colors.

In her present paintings, Jitka Anlaufova follows the Central European tradition of the spiritually oriented abstract painting, which examines and through artwork develops abstract forms emerging from structural nature of living matter. This kind of paintings allow to discover further layers and dimensions of reality, where the human intuition and sensibility for living organism and planetary fylogenetic story serve as a tool for orientation.

The paintings of Jitka Anlaufova connect the initially undivided experience of visual and intuitive complex perception, which is a source for new forms developing resources of personal creativity. The author, by opening the universe of virtual possibility of creativity, thus demonstrates the ability to communicate with the cultural environment.

Jitka Anlaufova also participated in an international Art Attack's projects of American and Czech artists in "Dum na Budankach" (Prague,1993) and shortly after in "Dominion Dum" project (Arlington, 1994).

Vera Jirousova
Art historian and reviewer
Prague, July 24, 2003


Since the start of her creation she has been following consistently the concept of a minimal abstract and, in most cases, also monochromic painting. Painting is for her an independent creative reality as an expression of purely spiritual dimension of being; in this she is close to Ad Reinhardt and particularly to Agnes Martin.

Her early works express a tension between her desire to establish and define in painting a clear "order" represented by a graphic code of screens of horizontal light lines, and the element of finely modulated, deep, absorbing and progressively movable color, which on the one hand - as an expression of the own magic of the painting - disturbs this unequivocal legibility. In the painting, color opens a dimension of the immeasurable, a dimension that cannot be grasped rationally, with which, however, one can identify himself/herself in the act of gazing. The proportion of both codes - the painter's code and the graphic one - has been reversed in her works of the resent two years. This time, what is dominant is a light monochromic painting structure in the form of a complex entanglement of lines developing, in a processual manner, from the centre of the painting to its edges.

Frequently, the structure is confronted with a regular grid of small, hardly visible light colored points covering the entire surface of the painting. In comparison with the early paintings, the subject of which was rather order of an organizing and controlling spirit, Jitka Anlaufova recent works represent an interesting attempt to describe some other type of order, namely that of chaos, that refers to processes in nature. A patient and humble investigation of such processes is apparent from Jitka Anlaufova recent structural drawings made with color pigments.

Jiri Zemanek
Theorist of Contemporary Art