The visuality of the work of Jakub Matuska aka ‘Masker’ is based on figurative realization and street art. Jakub Matuska has a rich range of expressive elements that emanates from his painting. He unites the brightly colored and aggressive genres that come close to German expresionism. The works present a derisory and pathetic humanity. It is the characters that invade the foreground and the composition often has a clash cadence. Through his paintings Masker expresses a world without any modesty. He presents an unstable world, dynamic and constantly evolving, in which the pictorial perspectives constantly evolve. He suggests the drama by the deformation and enlargement of certain elements – which reveals a familiarity in times and spaces far away. The artist approaches the dichotomies of the eternal and ephemeral, alive and dead, and beauty and ugliness. Stories intertwine in extraordinary worlds in which the tragic and the comic are tender and cruel.
Figuratively distorted and committed scenes in the environment are created while mutually permeable spaces are formed. In particular, there is a strange atmosphere emanating from Masker’s work that draws the viewer into the heart of the artist’s mind. The distinctive style and relaxed imagination is a unique combination allowing emotions tense with joy and sadness at the same time .
Masker manages to shake his viewer by breaking the codes of appearances. It is within this universe of light and beauty that monsters appear, which are themselves extremely standardized. There is a proliferation of faces and bodies becoming the common subject of an experiment. It is almost always hybridizations of the man with his new environment essentially made of signs, symbolic apparatus of representation, and virtual machines which constitute a vast lacis in rhizome where the individual is little more than a knot, often derisory, a prey to the dereliction and melancholy of a world where he reigned supreme.
The young painter is interested in the extraordinary forms that take certain manifestations characterized by a return of the anthropomorphic statuary but at the price of strange hybridizations which interrogate an identity.
The human figure is central under the aegis of objects and Nature. Masker makes this return to the distorted man, put back in an acrocosm of signs and multiple and active interactions. These paintings are brutal and establish a new, unique definition. Fantastic comic scenarios in contrast to apocalyptic scenes connect with urgency. The real and the unreal reinforce the feeling of chaos and confusion