These photos are so good we almost can’t post them. You should see what we held back.
Peter ERZVO Zvonar
is a controversial, provocative and exhibitionistic Slovak photographer who publishes mainly abroad where his style of work is more commonly known – accepted – than at home in Slovakia. “The art has to be controversial,” he states. “All great works of art which were super temporal were always outside of majority’s understanding. The art should be stirring. It’s a kind of rebellion that comes from the heart and soul of the artist. When I create art, I don’t think about the consequences of it, but the specific message of the piece, how I captured the story and it doesn’t matter if it’s a romantic story, story of one person, terrifying story or whether it shows ones’ hidden desires and urges. I like to portray these in particular. Maybe that’s why there is a lot of sexuality in my artwork as well as Christian symbolism. That’s why I am not as popular in my homeland Slovakia which has a very traditional Christian society. I also believe it’s because of my attitude to life and my openness.”
Peter ERZVO Zvonar
is in perpetual pursuit of creative individuation. He approaches this goal in a process of focusing his attention on the most important and immediate needs. Towards that end he has discovered (or invented) narratives and mythology to fuel the intentions of his work. Zvonar’s characters inhabit spaces and places that are in the world of the not-known in the realms that are subversive. The artist’s characters reflect the chemistry of imagination, the volatile and ephemeral reverie. If we were to permit ourselves the challenge of characterizing the complex and often contradictory quality of Zvonar’s art, we might say that its incongruous facets arise out of a struggle to make manifest an ‘inner realism’ only available to the artist. It arises out of a world that only the artist is capable of identifying and tracing. He is engaged in seeking in art a satisfaction for man’s rage for order; he finds spiritual order, not divine revelation, in a secular imagination. In outlining that world’s contours to the observer Zvonar‘s logic of passion gives moral authority and remarkable subversive importance to the artist’s task of unveiling the marvellous.
