Matouš Háša & David Weishaar

On one hand, David Wesihaar, with his painting, ventures into a territory—be it a phantasmagoric city or a magical and dark forest—where color is not just an aesthetic element but a vehicle to communicate the ineffable. His paintings create atmospheres that are as intimate as they are spectral, where darkness is not absence but matter. The palette is dominated by deep greens, cool blues, and shaded blacks, evoking the legacy of Gothic aesthetics and Romantic melancholy. The portrayed figures—often isolated or introspective—appear suspended in time, inhabiting spaces marked by rituals, silences, and tensions. His works are interior landscapes, boundless spaces, fluid dimensions where thought blends with matter and time seems lyrically suspended. Wesihaar's painting is never static: his brushes do not merely trace perimeter lines but embrace the oscillations and vibrations of the human mind. Each work is an inquiry into the concept of space, the intangible geometric constellation that shapes our experiences, as well as a reflection on the sensation of standing at the edge of an infinite horizon that becomes a reverberation of itself. On the other hand, marble and alabaster—the focal points of this new cycle of works by Matouš Háša—are not merely materials but true vehicles of tactile investigation and interaction. The artist's work draws inspiration from Renaissance and Baroque art, often tapping into themes rooted in Christian iconography. His aim is to provocatively reinterpret these classical motifs through a contemporary lens, so that the central element of his works acquires extraordinary fluidity, thanks to a visual transformation that continually suggests infinite possible organic metamorphoses, as well as the most visceral and profound evolutions of our thought.