text to the catalogue of exhibition Metropolitan Reality, 28.10.2005 – 4.12.2005, AJG Wortner's House, České Budějovice October 2005
In her work, Irena Jůzová has let so far little to be bound by older definitions of art styles and limits of creation types, as well as she does not accept their program of free interference.
She respects precise boundaries, but these boundaries she sets (specifies) herself as well as she herself decides about overlaps between different parts (themes) of her work there, where she recognizes it to be proper and needed.
She remains (oscillates) so in such interspace in which playfullness and mixing of styles is not the purpose on their own. Her work is not a game with signs and signings, but she takes on her seriously the old art task of being a mediator between a human and the world which surrounds us (her) and makes visible what is invisible in human staying.
Life cannot exist in the immediateness, because this immediateness can be cited as an aesthetic substitute: otherwise it can be named also as aestheticisation of everyday life. Wolfgang Welsch such as aestheticisation of life suggested as a contemporary model for reality: "Plurality , characterized by profound heterogeneity, which we can exemplarily experience on art, answers to our postmodern society, or more precisely, her own arrangement which – and it would be a contemporary emancipation – has yet the sense to really perceive, develop in its normative implications, protect and defend against infringement – against the pervasive trend of standby, suppression and unification of differential.
In the field of art, plurality, which has since become socially necessary as the diversity of life forms (and also has significance in other areas, such as language, indeed in the whole reality), can be studied so clearly as anywhere else. Art may have in this sense – the function of social model" as an elementary school of plurality (Wolfgang Welsh, Asthetisches Denken, Stuttgart, 1990, p. 164).
Fine art of Irena Jůzová moves in dimensions of time, space and human. Time is grasped conceptually and is linked to the concept of recycling certain elements and revitalization of something that has already happened. The author is not loyal to one medium, on the contrary, almost always chooses a different working media: in fact in this she is connected with the postmodern concept in which this creation crystallizes. It means that the aesthetic component, once significant for an artwork, fades into the background, but does not completely disappear: the dominant role has adequate articulation, news, and message.
A part of installation at this exhibition is a series of own body casts, transformed in plastic forms of individual body parts connected together. In this installation, her „material“ body is presented in the transparent layers of plastic mass, pointing at the existence of common base of organic and anorganic world. The author does not take this action as a mere documentation of her body; this document value is consistently denied. It is not also a construction of different women subject models, but a new type of construction. The problem of bringing about the "figure“, I emphasize here because it is one aspect of the reaction, where appear most inclinations to suppress anything. If it exists indeed, some explanation for the mechanisms of suppression, it's just finding the figure, body parts, even membra disjecta – looking for signs of biological form.
Irena Jůzová does not focus her attention on creating an artefact, but on the phenomenon of the human body itself. It's a kind of „shedding of skin.“ These casts are not means of her expression. This is the thematisation of character of human body physical existence, the experience of this body in space and going through space though a human body. By all playfullnes, these elements become to be an opportunity for a phenomenological examination of what is for us the body, specifically the human body. This personally treated phenomenology of Irena Jůzová says something important and unsettling about how is influenced and shaped the human experience of space. Obviousness and secrets are reversed here from their usual position, they are expression of more fundamental character and sense of what is the expression of various human flesh forms.
Although at the first sight it is not so obvious, these artefacts have close relationship with her drawings (even if we mean non classical drawings – combined collages, photographs, edited by graphics programs). As these artefacts, the „casts“ are not specifically something bearable. They are „only“ a challenge. Their space (of drawings) is no longer the everyday world, but the situation from it draws to photography (or collage). It is again another „between " were Irena Jůzová likely moves. And the final result is immaterial interspace, in which happens appealing confrontation.
Irena Jůzová’s works we can take as a certain type of drama, in which the author herself initiates, to spatial construction, time and movement, in which the re-called would be melted in the following fine art solution. I am convinced that this game is not made just by circumstances, but also by the suppression and transformation of own energy, while denying instinctual satisfaction. In substitutive repetition these artifacts (whether it is the installation of interiors, photographs or casts of own body) becomes a perk in a process which is inseparable from the system and the context of own interpretations.
If we go through the Irena Jůzová’s exhibition works or we flip through her catalogue, her artifacts may appeal to us as a parade of perfectionist implementation. A certain aestheticism and aura of perfection are the accompaniment – Irena Jůzová works intuitively, but always in order of the clear organization of the whole. Yet almost in all of her projects there is present a categorical „incompleteness“ : here I would draw attention to Marcel Duchamp, who, in his work also applied the principles of transparency, mirroring, optical ambivalence and activates the position of viewer. Jůzová’s intuition and distance, which are standard equipment of her arsenal, have roots here. The author's work is the result of a critical work, not a virtual product resulting from a combination of advanced technology and romantic imagination.