Ukazka z knihy Citeni nahled do s1-30_12

HAVE YOU PERSONALLY MET WITH JOSEF SUDEK?
I still love Sudek not only for his skills in photography but I like him as a human
being as well for his unpretentiousness. Back in the 40’s when there was an
exhibition of avant-garde photography in Kolin’s main square all the bigwigs are
said to be there, dressed up to the nines. Then he turns up, a “country pumpkin
type” and asks where the do is, like. He would often speak with Mr. Zrzavy, the
painter, who once said: “Photography ain’t no art, Mr. Sudek”. To which Sudek
replied: “I told him frankly - Why does it ruffle your feathers so much, Mr. Zerzavy?”
I follow my instinct and one shouldn’t ever numb the instinct by longing
to know everything. Even if you did succeed in knowing everything, then you’d
lose your instinct and end up “just” knowing everything. Sudek also said that
photographing is kind of cobblery as against music. I saw him couple of times
in Prague’s Kampa and in Smichov while he was photographing. Then, in 1976
during an exhibition of Karel Neubert’s photographs he saw me and we winked
each at other by one eye knowingly. My father met him a few times in order
to bring him films. Sudek would give him his panoramic photos of Prague in
return. I still have them.
U dřevníku, 1961 / At woodshed, 1961
WHAT DO YOU LIKE TO PHOTOGRAPH THE MOST?
In my earlier creative years I used to be into field photography mainly focusing
on animals, children or people on the “edge” of society, landscapes and still
lifes in their metamorphosis that were including my worlds. However, the development
does not run in a linear way and these days I complete or enrich
those worlds due to my wider, deeper and clearer way of perceiving reality. I
do not prefer any topic. I am just receptively listening to what is actually resonating,
emerging and I artistically work on it. That is what I enjoy the most. For
example, “carved drawings on tracing paper“ – written drawings deeply
enriched in dynamics by carved spaces and lines or “lights of awareness”
– not the outer sunshine that enables the earthly life but the inner light of
life in the spirit of the very awareness or “feeling-tones” – sensitive tones
of awareness. Each and every inner tone, which we can hear, has its own
emotional tone in the awareness which gives the overall mood to this ether of
awareness space. We can imagine it as a fish tank full of water, which represents
our awareness, in which we are, and when we drop a little bit of color
into it, the water turns a hue of this color. The awareness stays but the mood
of it has changed slightly. That is a certain sensitive tone which also yields a
knowledge of some specific qualities of that awareness. In order to feel the
inner tones and to be able to embody them, it is necessary for us to focus
on the inner sounds and through their resonance with our inner core we have
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