Interview with Filip Gyurkovský
Experience the world of a talented Czech artist. His reflections offer a window into his artistic vision, the experiences that influence his craft, and his motivation to continue redefining contemporary art.
Hi Filip, can you tell us about your background and what initially drew you to the visual arts?
I come from a family where my grandfather was a painter, and my father has a talent for practically anything he sets his hands on. Seeing what could be created fascinated me, and I felt inspired to create as well.
Like many others, I’ve been drawing for as long as I can remember. It has always been a natural part of my life, so studying art felt like the obvious path to follow. During my studies, I also explored graphic design and other related disciplines, but painting and manual creation have always felt closest to my heart.
How would you describe your artistic style and influences?
My artistic style could be described as figurative expressionism or abstract portraiture, although it’s difficult to categorize since it continuously evolves with each new work.
My biggest artistic influence or idol is the South Korean artist Shin Kwangho, and for more figurative inspiration, the American artist Jeremy Mann.
What themes or messages are most important to you in your work?
The topic that is always present in my works is human figure, especially portrait. I find it fascinating because it is so versatile, even a perfectly still face can be incredibly expressive. It’s also a universally recognizable subject that everyone can relate to.
In my paintings, I often obscure parts of the subject with evocative brushstrokes or thick layers of paint, creating an immanent portrait that invites the viewer to interpret it in their own way.
Can you walk us through your creative process? How do you start a new piece?
I usually begin by finding a reference image to use as a base since I like to maintain proper proportions. The next step is sketching the composition on the canvas and transferring it. Once the foundation is ready, I start exploring possibilities, sometimes the process is spontaneous and unpredictable.
It can be an emotional rollercoaster, one day you love the piece, the next you hate it. There’s a lot of adding and removing, but that builds interesting textures on the canvas, it’s all part of the process. When I feel satisfied with the artwork and have no more ideas to improve it, that’s when I know it’s finished.
“Even a perfectly still face can be incredibly expressive.”
What mediums do you prefer to work with, and why?
I like to use acrylics for most of my works as they are easy to work with and are good for thick layering thanks to its quick drying. However, nowadays I am experimenting a lot with oil colours combined with mediums on large canvases and it is amazing! I often mix the two together, as the oil colours are better for creating smooth blending.
How has your work evolved over the years?
As a child, I used to draw cars and planes. Later, that evolved into creatures such as dragons, demons, and orcs. However, during my university studies in a Contemporary Art studio, my perspective broadened significantly.
While living in Spain, I was introduced to painting and colour theory, something completely new for me, as I had primarily worked with graphite and charcoal before. I think my current works combine my early fascination with fantasy and my later understanding of contemporary art.
How important is collaboration with other artists or art professionals in your practice?
I believe collaboration and openness to group projects are essential, as the art community isn’t that large, we’re all in the same boat. Working with other artists and professionals is always enriching, providing new perspectives, inspiration, and valuable connections.
Have you explored any new techniques or experiments recently?
Recently, I’ve been experimenting with oil paints using odourless turpentine, which allows me to work almost like with watercolours (splashing, erasing, repainting, and layering). This technique creates a variety of transitions and blends that I couldn’t achieve with acrylics alone.
How do you stay motivated and inspired during long projects?
Truth to be told motivation comes and goes. The important thing is to know keep working as stagnating will not get you anywhere. Even a step in a wrong direction is still a step and that is better than not doing anything. So more than a motivation it is discipline that keeps me going. And if I am lucky, inspiration comes along.
What upcoming projects, exhibitions, or ideas are you most excited to share with your audience?
In my latest series, I’ve been exploring monochromacy, with all the paintings currently done entirely in red. I want to dive deeper into this concept and discover what more it can express.
I’m also very excited to participate in the Art Prague Fair next year, where I’ll present my newest works. Additionally, my friends and I are organizing a group exhibition independently, without any gallery collaboration which is both a challenge and a thrilling experience.
Many thanks Filip for unveiling your perspectives and personal story. It’s been a pleasure having this conversation with you.
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