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


Impulses of the photo-world
„- chance and reality have more latent than all the film directors
(artists, J. R.) in the world...”, Andre Bazin, 1958

My 'Impulses of the Photo-World' generate themselves in synthetic photo-grams, images-notions taken out or the illusory reality of television. Those two different matters of PHOTO and TELE are bound by informational energy which to a large extent shapes our consciousness and mental habits. We rather have to do here with a psychological phenomenon because we consider the following statement as absolutely true: PHOTOGRAPHY MECHANICALLY REGISTERS THE IMAGES OF REALITY. Mechanically, that is objectively, without the necessity of the active participation of man. Usually (for our own satisfaction and comfort) we do not want to remember that man has a creative nature and that all his actions almost always possess some kind of intention - the intention of convincing others as to our own goals.
Many of the so-called ' receivers' like to be manipulated because they do not have creator's nature, often due to their own laziness. Meanwhile, such creators (politicians, social activists, artists, teachers or educators) consciously superimpose their intention on others, uncompromisingly using this objectively created material arid shaping it in their own ways.
My problem (which is very complicated) is to be defined as precisely as possible:
I am asking, others as well as myself, how far can one creatively interfere in a previously prepared television material using photography? Performing this risky operation I realize that the one medium as well as the other can excellently embalm the real images of our world.
A videogram additionally possesses in its nature movement, the factual passing of time which call be mechanically stopped by photography. Performing such an operation on television material may reveal (visualize) some non-directed energies of the electronic image ill perceptible form. But when these images take on the form of synthetic photograms I think I am able to create new notions of my own. This is the extraordinary power of photography!

from the cycle: „Idols”, 1996

from the cycle: „Idols”, 1996

from the cycle: „Idols”, 1996

from the cycle: „Idols”, 1996

from the cycle: „Idols”, 1996