"What’s at stake in David’s work is, quite literally, more than just a semiological discourse via the medium of painting or sculpture; it encompasses an excess that goes beyond the logic of referentiality. This is characterized by the artist’s typical urge to fill what can’t be filled. He embraces all of the visual media, and while it is painting he most frequently turns to, he has also created a cycle of assemblages, made of all sorts of objects and toys as though they were extensions of the limbs of his body forming a spoof rocket (‘Raketa’, Rocket, 1990–9). Another example is Brutal abstraction (1993), starting with the work’s title, which captures the way in which David can’t help but infuse corporeal presence into abstraction; whether it’s in terms of a pictogram (three simple circular forms suggest the head of Mickey Mouse), or simply in terms of how washes of white colour are allowed to run down a good part of the canvas. In fact, it is the body and its manically disseminated imprints that are, ultimately, the only viable defence against dissolution in the unstructured soup of continually fleeing meaning that Postmodernism tried to describe. The question of the body, however, is precisely the issue only partially addressed by Postmodernism, a category under which David is often – perhaps too readily – listed." - Petr Fischer, "Jirí David"

Sitography: FISCHER, Petr, "Jirí David", www.frieze.com, 01/11/2009
www.frieze.com/article/jir%C3%AD-david