I was born in Brno in 1952. I do not recall when I first held a writing instrument in my hand, or a pencil, but I am positive about the first picture of mine to be a "success" in the family circle. It was a "limping engine" (1956), a steam engine that took its wagons under the scoop of the mechanical digger. It derived from a fascination with the environment in which I regularly spent my holidays, and which definitely had an influence on me. And, as I realised later, it has also influenced what I paint and how. This was the region of the North Bohemian open-cast mines, which abounded in interesting stories. Although the area was in stark contrast to the multi-coloured natural landscapes of South Moravia, I found it charming. One could observe not only the face of nature but - particularly remarkable - even its innards, opening right before your eyes. If it was green, it was a kind of green totally different from anything I had experienced. Let alone the other colours.

I am basically self-taught. However, at an advanced age I attended an art course led by acknowledged Brno master artists, and delighted in learning from them.

Their names were Hliněnský, Skácel, Škarohlíd and Ochrymčuk.

Thanks to these gentlemen, my "copying reality" (1975) at that time began to undergo radical changes; first and foremost, they taught me to open my eyes. I felt strongly tied down by reality. I could not withdraw from it. It forced me to put down every detail, often irrelevant. My solution was to do sketches in the open and to complete the picture at home. In this manner, I produced several paintings of old houses and flaking walls. My first attempts at abstract art included The Four Seasons (1982), the Landscape When… cycle and a series of paintings entitled Reconstructing the Landscape. Then everything seemed to come together of its own accord. Views of the landscape from above, the structure of a landscape, or nature itself, with its folding, cross-sections, inner tension, composition and layers and the mutual interactions of all of them (Croquis, Correlations in Space, Structural Visions,etc Landscape Upside-Down, Landscape with a Broken Horizont). In the early 1990's, I expanded the "non-living nature" subject (Tektogenesis) with abstract images of vegetation, branches etc. (Grass Blossoms).

The apparent diversion from the course mentioned, manifested at the Nihil novi sub sole exhibition, was nothing new in my art. I consider this synthesis of living and non-living nature, which is still my ultimate inspiration, a logical outcome (Nihil novi sub sole, Nimbostratus, Fibring).

My work from the late 1990's is associated with my profession. I am an x-ray laboratory worker. The everyday contact with x-ray photographs, images rich in inspiration and of deep inner structure, and the awareness of dynamic processes taking place hidden, without any chance of our observing them, trigger my artistic rendering of them. But again, they present nothing new or revolutionary. Many of my paintings still evoke landscape and nature.

I refer to all of this as X-ray; it is a cycle of pictures not yet completed, and as I have said, inspired by radiology, or by representative methods in radiology, i.e. classic x-ray photographs as well as the images produced through magnetic resonance, ultrasound, tomography and densitometry.

Pictures that I refer to as "Corpus alienum" come from the same inspirational source. However, their point is not simply to be "strange objects" as such; rather, I try to express something that is "strange" in the given context, i.e. a contrast in the picture composition, a contrast in colour, structure or drawing, or constrasts of depicted shapes, their layout or synergy.