Oscar Ruzicka

Can you tell us about the process of making your work?

My working process begins with the selection of motifs that appeal to me visually and emotionally. I often combine elements from different photographs to create new compositions that maintain a balance between reality and abstraction. I deliberately leave out the heads to emphasise isolation and loss of identity. White hands play a central role and symbolise hope – the power to realise oneself and create a connection between inner experience and the outside world. Tue muted colour palette underlines the melancholic, introspective mood of the figures, while the contrast between the glowing white hands and the background conveys an inner turmoil. While the motif is determined in advance, the colours, structures and details are created in the painting process itself, whereby I let myself be guided by the dynamics of the paintings.

How would you define your work in a few words (ideally in 3 words)?

Empathetic, introspective, emotional.

Could you share with us some insights on your painting ‘Pugna’ (2024)? Is there any particular story behind this new work?

‘Pugna’ means fight, and the work shows two men intertwined in an intense, almost intimate wrestling match. Their bodies symbolise the physical and emotional exchange that indicate not only confrontation but also closeness. The white hands represent hope and the power to overcome conflict, while the muted colour palette underlines the melancholic, introspective mood of the work. The contrast between the glowing hands and the dark background heightens the tension and draws the viewer’s gaze to the essence of the struggle. ‘Pugna’ is intended to invite us to reflect on the nature of conflict – whether between people or within – and to recognise the hope for resolution and change.

Faceless figures seem to dominate your recent body work; is it a current motif or is there any particular reason for concentrating on male representation on your canvases?

The faceless figures in my works are a central element in depicting isolation, loss of identity and the universal nature of emotions. By omitting the faces, I invite the viewer to project their own feelings and interpretations onto the figures. The question of the gender of my characters is of secondary importance to me. lt is not a conscious choice whether a figure is male, female or not clearly assigned – the physicality rather serves as a symbol for humanity and inner conflicts. If it happens that a character is read as male, it’s more of a coincidence in the creative process.

The protagonists on your canvases seem to have a mysterious body language as well as an eccentric outlook; what were your thoughts about the identity of those figures? Is there any a broader thinking about the limits of gender roles, stereotypes or expectations that you are trying to deal with or none of these parameters have to do with your work or your characters?

The body language of my characters is deliberately enigmatic and fragmented. lt is intended to reflect the inner state of the protagonists – a mixture of strength, fragility and introspective isolation. Their identity is not fixed, but open so that the viewer can make their own interpretations and projections. My work does not aim to directly address gender roles or stereotypes. Rather, I am interested in depicting universal emotional and psychological states. The figures can be seen as projection surfaces for the challenges and tensions of human existence -regardless of gender or social attributions.

Do specific artworks have been created by random experiments in your studio or do you usually come up with a particular concept or narrative in the very beginning of your artistic process?

My creative path was characterised by experimentation right from the start. lt was only this year that I decided to take the plunge into self-employment as an artist. Before that, I studied a different subject and lived out my artistic work on the side without fully focussing on it. The last five years have been a big experirnent for me to find out what I want to paint and what technique I want to work with. The current series, which I have been working on since March this year, is the result of this intensive phase. Nevertheless, each painting remains an experiment – I consciously leave room for spontaneous developments and keep discovering new facets of my artistic language.

What would be the best way to exhibit your work?

I wouldn’t want to limit myself when exhibiting my works. They need space, brightness and air to breathe in order to unfold their effect. A clear, minimalist environment with enough free space is important so that the melancholic and introspective atmosphere is not lost. At the same time, I am open to experiments and new approaches. How my works are presented in the exhibition space is a process that can develop and change over time.

Can you mention any artists you, lately or generally, take inspiration from?

Francis Bacon, Pablo Picasso and Andy Warhol are artists who particularly inspire me. Each of them revolutionised the understanding of art in their own way – be it through Bacon’s emotional intensity and fragmentation, Picasso’s radical deconstruction of forms or Warhol’s pop art irony and seriality. Their works have shown me how powerful and diverse the language of art can be.

What about the place where you work? What’s your studio space look like?

My studio space is functional and at the same time a place of peace and concentration. I have enough space to move around freely and try out different materials and techniques. There are practical areas that allow me to mix colours or take short breaks, which is important for my creative process. It’s a space that adapts to my needs and gives me the freedom to concentrate fully on my work.

Which are your plans for the near future?

My first solo exhibition at Monti8 Gallery is a significant milestone and I am looking forward to taking this step. I will also be exhibiting at the DF Art Project in Paris in February – another exciting opportunity to present my work to an international audience. After these exhibitions, my aim is to find further exhibition opportunities and thus gain valuable experience. At the same time, I want to make my work more accessible to a wider audience. I also plan to continue working on my current series, experimenting with new techniques and materials to further develop my artistic approach. lt is important to me to keep challenging my work both in terms of content and form in order to develop as an artist and find new ways to portray emotions and themes.

@vicivacivuci

All images courtesy of the artist