This is his third solo exhibition, but the most comprehensive in terms of the range of works presented. The ambition of the project is not to provide a comprehensive account on the development of his current visual language. It rather tries to show the creative process as an act of introspection in which individual themes, motifs and genres are understood as both individual and collective, constantly updated symptoms of everyday life. Subsequently, he grasps them as ideological prefabricates, whereby the sculpture in his rendering sometimes becomes an organic, at other times an exact shape construction with a particular meaning. This principle defines the exhibition concept through individual circles without a chronological sequence or strict time frame.

The title of the exhibition cumulates two creative principles of the artist. On the one hand there is his restless, contemplative nature (restless), on the other rest deficiency (rest less) as a result of manual labour and parental responsibilities. These (non) artistic aspects define the sculptor’s personal mythology, which is apparent ex-post, therefore not arranged as an ideological framework. He confronts it with the contemporary uniformity of opinion, calculated (non-) authenticity concealed behind the concept, while using as a tool traditional sculptural morphology based on lapidary forms and excellent technical execution. Thus the sculpture of František Bohunický represents a means of preserving its own memory – timeline with distinctive elements of self-irony, but not in the form of a non-participating medium of ideas. It rather indicates the possibilities of creating contemporary archetypal sculptural forms.

Despite a freely defined exhibition concept, it is possible to trace individual, rather formally different areas. They acquire the form of an index in terms of an indicator of volatile values relative to a certain initial state. They include:

1. Neoclassical figuration – motifs of human figures, updated with symbols or logotypes as reflections on the present time, take on the character of specific iconographic themes (My Rules, Error of Education, Monument of All Times…).
2. Mass-volume studies – visualisation of partner, interpersonal and family relationships abstractions rendered in geometrical-constructivist forms (Ego, Family Transformation…)
3. Small-size sculpture – small formats, studies, reconfigurable works on the theme of sexuality, family and education (Interlocking, Army Family, Black Days…)
4. Interactive works – social and national-critical subjects. Works intended for direct intervention of visitors in exhibited pieces (Slovakia for Slovaks, Buchar…).

The final (meta) circle of the exhibition is an ironic environment, a stylised “studio” of the artist who presents the elements of a common household, post-produced by his intervention, in which he works with the drawings of his children. It symbolically closes František Bohunický’s exhibition in the position of “cynical” design, which the author creates in exceptional moments of rest (finally rest).

Filip Krutek