An inner monologue about social distance, civility, and moving on the edge of reality, from Freudian allegory to Victorian horror. Natálie Pejchová’s paintings are signal-less, white noise haunting the reality of existence and unity. Each painting has its own theory, its own narrative firmly linked to the mythology of sentiment, of experiencing, of being between childhood and adulthood, between dream and reality. Motifs overlap and themes flow like conversations. The paintings are linked by process, they undergo a biomorphic masculinity, they define the flow of the idea being sought. Animism in a post-apocalyptic city, anthropomorphic phenomena, and the costumery of children’s androgyny. Throughout her studies, Pejchová explored the possibilities of painting, with process an important aspect of her work: the constant layering of paint causes the brushstroke to be lost, as if camouflaged.

The paintings engage in a monologue on emotions, and the only way out is escape! Variations of anthropomorphic references, distillations of reality into painting. To fertilize the soil with tears.