1958–1960 First Gestures

1958–1967 Photo-paintings

1965–1967 Intuitive Paintings

1959 Photo-actions

1959–1979 „Objective” Recordings

1959–1968 Metaphorical Intuitions

1969–1972 Interactive Photo-Objects

1962–1980 References (Sets)

1966–1967 Camouflages (Jozef Korbiela)

1966–1972 Double Paintings

1966–1994 Epitaphs

1969 Reality as Photography

1969–1979 Photo-films

1970–1976 Film Structural Models

1968– Analytic-Conceptual Photography

1971–1976 Public Interventions

1971–1978 Mechanical-biological Recordings

1971–1972 Sound Manipulations

1971–2001 Installations

1972–2002 Astral Photography

1974 Tactile Paintings

1974–2002 Videoperformances

1975 Relations

1975–1996 Energetic Photo-Angles

1978 Abysses

1971– Lightboxes

1978–2000 Personal Cinema

1981 Handshake

1981–1982 Papers

1982 War State

1982 Votive Photography

1982–1986 Re-reports from a TV Set

1985–1999 Biologions

1987 Fetishes

1988 Simple and Complex System

1992–1994 Machines (Installations)

1996 Re-photography from a TV Set

1997 Videoportraits

1998–2000 Termograms

2001 Synthetic Photography of „Nothing”

2003 Photo-marriages

1959–2011 Chemigrafie


Works in collections

PERSONAL CINEMA is made when nothing is pretended. By its very existence, it is already a fact, although it needn't relate at all to the facts of life. This doesn't mean that it deals with the recording of nature, since nature itself is embodied in its sense of existence.
Thus it possesses all the possibilities of cinema as such, while being a PERSONAL CINEMA - that is to say, a direct projection of the film-maker's thoughts. Having freed itself from fashions and aesthetic rules, as well as from established language codes, it comes closer to the film-maker's own life. One can say that it becomes his love and his passion, yet at the same time, very often, his distorted reflection. Let's film EVERYTHING and it will turn out that we are forever only on the screen: his posture resembles yours, yet his character and personality differ. It is extremely interesting that one can carry on a polemic with oneself via the screen. Go on filming, and carefully observe yourself, critically, with the full awareness that YOU, on the screen, are greater than in nature, since von have a greater facility in the remembrance of past tune. Finally, also take it into consideration that your memory often becomes the memory of those watching Your films.

Titles of films representing this tendency: Transmisssion from Moscow (1982), From my window (1978-1984), Notepad (1980-1981), About my fingers (1981), War State (1982), Appeal (1984)..., Movies are power! (1985).

photocycle „From my window”, 1978

videofilm „From my window - 1978/1999”, 2000

videostory „About my fingers”, 1979/1989

Plays of Poles, 1981/1989

Plays of Poles, 1981/1989