Fragment

Rarely do we encounter a consistent artist with a formed idea and artistic views. An artist who expresses himself freely in many fields of art such as painting, drawing, graphic art and literature. Of broad horizons, both intellectual - reaching from the painting of Pieter Paul Brueghel to philosophy and Far Eastern art. Focused on analysis, creation, work and artistry in the most basic sense of these words, simplifying the surrounding world to a sign or a rhythm, using the most primal inspirations, such as the laws and mechanisms governing nature. Jan Tarasin, despite using synthetic forms, builds complex, thoroughly considered, newly constructed compositions. It seems that he is occupied with semantics in the field of painting. Such extensive searches for inspiration stem from the artist's conviction that European culture has closed itself within a limited circle of the philosophy of anthropocentrism and European cultural codes. It seems that Jan Tarasin regarded European culture as one that sets its own limit and contents itself with the simplest perception of things. In Jan Tarasin's paintings the signs and symbols placed on the canvas seem like carelessly thrown blots of paint. Is it really so, or are they perhaps studies of the kinetics of bodies and objects? From the deconstruction of the object, from dividing it precisely into small signs, arise Records, Situations, Complications, Dynamic Phases, Warehouses - the cycles of Jan Tarasin's canvases. The painter's paintings compel one to abandon order, the unambiguity of the symbol and rational thinking, in favour of new cognitive experiences and the independent shaping of the surroundings from the objects available on the canvas in, preferably, a new context.