The exhibition titled Your God Is Fear is a current example of authors interest in expressive female portraits and intimate landscape depictions. Holý focuses his lens on an ephemeral reality. Accentuated eroticism in his earlier work is replaced with interpretation of human body as a concretization of desire. A nude remains a nude. The surface of a female body is where looks for his identity. Colourful digital photographs, often not aspiring to be anything but working shots, escalate the disruption in the relationship between the author and his model. Deformation and vulgarity is continuously balanced by a mere indication, eventually more acute than reality. He does not strive to capture the fundamental essence of a woman, instead he tries to dematerialize her complexion, reach the moment of uniqueness and multiply it. Nothing stands between the device and the model but the mood and light vibrations. Moreover, he does not give any titles to his photographs. It is impossible to come up with titles that would only obstruct the suspicious intimacy of the picture. He ceaselessly works on the edge where difficult turns into impossible and ease into sentimentality. If he made his model into something she is not, he would only increase the danger in which he finds himself in anyway.
His keen interest in landscapes permeated with their pagan past balances on a similar edge. Instead of long told stories we find ourselves amidst documentary images. Mythology turns into its very opposite. What his apparatus offers him is what Holý wants to see in nature. With digital technology it is possible to take a number of pictures in high resolution in a very short period of time. As a mechanical eye, the photographer slides on the surface and takes one shot after another. With this inhuman schematism he captures the trajectory of gaze, like a machine he draws a calligraphic ornament. Motion, trapped in rigid images, becomes distinguishable in the virtual space of a computer programme. While observing the voluminous mosaic, the viewer can identify himself with a fabricated, artificial view. Nothing ever moves. Rediscovery of the tragedy of landscape. In this case, Romanticism is not just a lavish gesture, it is an irrational experience. While the landscapes exposed to our gaze are constantly threatened, they still radiate danger.

Jiří Havlíček

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