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When Merleau Ponty interpreted the statement of Paul Cezanne that he "draws by painting",
he mentioned that even in the perceptive world, even in a painted image it is not possible
to strictly separate the shape and outline of an object from the color modulation,
which must contain everything: "the shape, custom color, physiognomy of the item,
its relationship to the surrounding objects." What Cezanne (did not) painted, Merleau Ponty
philosophically named: there is no strict distance between the world and the perceptive subject,
instead there is only the "dizzying closeness", which prevents us to perceive ourselves as a pure
spirit separated from things. There are therefore no boundaries, which could be conducted
between us and the world, which we are always a part of. While perceiving the large format
drawings-paintings by Dana Sahánková, I found a kind of artistic interpretation of what is said
above - there is no boundary between being awake and dreaming, between home and the over
personal world of imagination, nor between the real and the abstract view.
Dana Sahánková thematizes the complex, tangled and inseparable complication of relationships
between rationality, here represented by the white pieces of paper often enhanced with thin
pencil lines, and emotionality or imagination represented on the contrary with a dense ink
crosshatch forming dark clustered clumps from which emerge organic shapes, sometimes more
animal like (cats, dogs), other time rather demonic creatures that devour non-living
segments of furniture (chairs, tables) defined by a sharp "rational" pencil. Sovereign author
iconography here within the symbolization of the displayed gets to a general level and
connects with various links leading all the way to Goya's Caprichos ("The sleep of reason
produces monsters"). I must also remind the surrealistic and imaginative play with new
formations, from their hidden depth of the subconscious comes to the surface and to the word
fascinating inappropriateness of the connection of the living with the inanimate, the real with
the unreal. The ambivalence of the selected symbols - cat, dog, night, stars, but also a softness
and "huggableness" of the animal hair along with the ominous white gleaming fangs of
the demonic beasts coming out of the darkness here in combination with large white areas
of paper hanging from the ceiling to the floor make it more difficult for any kind
of distance for the observer, which would ultimately mean nothing more than a reassuring
rationalization, hugs and control, and with it a complete denial that any "good art postpones
its response for later" (J. Clair).

Martin Mikolášek, The curatorial text for the exhibition, 2014