The cycle 30s - No.1, 60 cm x 45 cm, spray and kapa on canvas, 2013
The cycle 30s - No.2, 58 cm x 45 cm, spray and kapa on canvas, 2013
The cycle 30s - No.3, 45 cm x 45 cm, spray and kapa on canvas, 2013
The cycle 30s - No.4, 210 cm x 145 cm, spray, paper and kapa on canvas, 2013
The cycle Alignment - Frame No.1, 45 cm x 60 cm, acrylic on canvas, 2013
The cycle David Hanvald and typography - K. Taige, J. Benda, 201cm x 135cm, acrylic and spray on canvas, 2013
The cycle David Hanvald and typography - K. Taige,V. Nezval, 220cm x 135cm, acrylic on canvas, 2013
The cycle David Hanvald and typography, 230 cm x 1145 cm, acrylic on canvas, 2013
The cycle Kunst - history - XVII, 220 cm x 160 cm, asemblage on canvas, 2013
The cycle Objects– H. Demartini (1968) IV., 222cm x 222 cm, acrylic and spray on canvas, 2013
The cycle The empty composition - No.1, 130 cm x 90 cm, acrylic and spray on canvas, 2013
The cycle Modern Modernism - V. Špála (1918), 224 cm x 192 cm, acrylic and spray on canvas, 2013
The cycle Tables - No.1, 212 cm x 183 cm, acrylic, spray and oil marker on canvas, 2013
Reinterpretation, especially of the modernist visual artists, appears as a basic principle for the formation of Liberec native David Hanvald (born 1.12.1980). The distinctive colourfulness, supported by the gestural strokes of painting, transforms architectural prototypes, object-oriented, graphical and action artifacts of those, whose activity was based on thought-out "abstract" concept. David plays with them in a minimalism and maximized way in an active and also action dialogue. At the exhibition in Nod to the word got such works and prototypes, which are actions of Hugo Demartini, Teige´s typography, Polke´s blindframes, light and shadows of Sudkovsky´s photographs or the Václav Špála´s painting. David treats the modernist works of art in his own way, sometimes he does not wander far from the prototype, sometimes the initial work of art becomes an generating impulse to a number of image variations and mutations. The important role plays the transformed and variously mixed modernist aesthetics, soaked equally by the postmodern principles of deconstruction and construction as well as the conceptual works.
To the principle of his work, David says, "I communicate a certain aesthetic, an aesthetic look that will be either pleasant or not for the viewer. But it's not just about a layer of my aesthetic, it's also about a certain coding, about a memory of a time, about the history of art, about the bonds to the society, about a continuity. Important is not to reject the art of previous generations, which frequently happened in the past. At this time, in our generation, it is the opposite. Rather it is about a mutual use of different aesthetics, there is no need to demean former artists."