CONTACT KRALICEKMICHAL ABOUT
 LOOKING AT A PHOTOGRAPH FOR MORE THAN A CERTAIN PERIOD OF TIME CAUSES FRUSTRATION WITH THE IMAGE, WHICH AT FIRST GLANCE WAS A PLEASURE
PREMATURE REALIZATION AS A WEAVING OF TEMPORALITY
EFFECTS, THEY ARE AUSTERE, UNCONSCIOUS. MUST BE. AND PARADOX IS DRESSED UP INTO UNKNOWN PLACE. MAYBE IT STAYS PEELED FOREVER, MAYBE IT VISITS THE SUBSTANCE..MAYBE IT DOESN'T COME.
STILL IN THE POSITION OF THE ONE ESTABLISHING THE ORDER
LOSS OF SHAPE, TOO SPECTACULAR..STEREOTYPE. TREND..NO MANIFESTATION, BORROWED TO THE TERM. OUT OF BODY / OUT OF TIME. LOSS OF LOGIC. DEPENDENCE IS EVERYWHERE. SUBORDINATION, WHERE? DISAPPEAR, I WANT TO. EVEN THOSE STEPS ARE DO NOT MOVE ANYWHERE. AFTER THAT IT WILL DISSIPATE ANYWAYS. TEAR HIM IN THE PRESENCE.
DENYING FUNCTION, HIDDEN AND PARALLEL DISCOMFORT OF USE
HE UNDRESSES THE SKIN, LEAVES A HINT AND DISAPPEARS.
SHE WEARS JEWELRY, THEN LEAVES IT AND EXHIBIT IT AS A FULL STATUS OF A THING, AS AN ARTIFACT
TOO FIGURATIVE, OFTEN BODY DEPENDENT ON SHAPE, FUNCTIONAL AND EFFECTIVE
IMAGE AS A PHOTOGRAPH, PRINCIPLES OF DIGITAL MANIPULATION SHIFTED TO PHYSICALITY. LOOKING TO THE PHOTOGRAPH WITHOUT DEEPER CLAIM, CREATING NOT STAGED COMPOSITIONS. PHOTOGRAPH AS A CLUSTER OF COLORS, IMAGE AS AN ADMISSION.
CONSTITUTIONAL EXCEPTION OF PHOTOGRAPHY MEDIUM
 BASED ON THE EFFORT TO BREAK LIMITS OF THE ACT OF FASHION PHOTOGRAPHY AS A GENRE AND TO REGAIN EXCITEMENT.
SHE WALKS TO PAINT A PHOTOGRAPH BY RED COLOR, LARGESIZE BARIT PHOTOGRAPH AT THE END OF THE CORRIDOR, THEN SHE LIES DOWN AND COALESCES WITH SURROUNDINGS.
TEAR HIM IN THE PRESENCE, ASK YOU KINDLY.
RESTING LIMITS, MELTING INTO PLURALITY.
WHEN WE TAKE OFF OUR CLOTHES, WE GET RID OF THE SHAPE OR THE BODY, AT THE SAME TIME WE ACQUIRE FORMLESSNESS
THUS, PHOTOGRAPH BECOMES THE OBJECT OF DESIRE, BY ELIMINATING A CLEARLY LEGIBLE MOTIF, IT CASES TO BE INVISIBLE
STEREOTYPE OF POSITIONS...
APPROPATION
SCROLLING SPEED AND CONTENT CONSUMPTION. CONSTANT MELTING
THE INFINITELY EVOLVING MODIFYING ART OF TIME DEPENDING ON THE CURRENT TASTE
THE WEARER IS COVERED WITH A DELICATE, SEMI-TRANSPARENT TEMPORARY SKIN PHOTOGRAPHER AS A SLAVE OF A DESIGNER, ONLY A CRAFTMAN, SOMETIMES PROMOTED TO BE A MEDIATOR OR CURATOR
 PLASTER CAST WHERE THE SHAPE IS ABSTRACTED, THE WEIGHT IS UNSUITABLE FOR USE ON THE BODY, SO IT STANDS OUTSIDE. SO IT IS NOT SO DEPENDENT ON ITS WEARER. THE INTERNAL STRUCTURE OF CASTING SUGGESTS THAT ITS ROLE IS TO BE CLOTHING, BUT PHYSICALLY IT IS NOT.
THE HANDLING OF EXPRESSIVENESS AND POSITIONING BECOMES STEREOTYPICAL, QUICKLY EXHAUSTIBLE.
AFTER ITS UNDRESSED IT TAKES THE FORM OF A TRACE WHICH STILL PROVES THE PRESENCE OF THE WEARER, EVEN THOUGH IT CAN NO LONGER REMAIN IN THE GIVEN PLACE AT THE GIVEN TIME.
IT OPENS UP IN ANOTHER MEDIUM, UNCOVERS AND PLAYS WITH OTHER PLANS AND TERMS OF THE WHOLE ACT.
 PHOTOGRAPH OFTEN SHOW SOMETHING CONCRETE, CLEARLY DEFINABLE, INFALLIBLE
 PHOTOGRAPH IS ALWAYS UNARY THAT LACKS INTENTION AND PLAN
THIS IS THE ONLY POSSIBLE WAY OF “SELF-PRESENTATION” THAT DENIES ITS PRESENTATION
CLOTHING AND ITS EFFECTIVENESS, WEARER - MODEL AND SUBSEQUENT TREATMENT WITH THE ACQUIRED MATERIAL