Jan Serých’s paintings, objects and videos function as conceptual trompe-l’oeil. He has created a formal abstract language derived from geometric tendencies in painting and typography. He deforms constructivist aesthetics, presenting characters depleted of significance.
Symmetrical geometric or typographic shapes are exposed as multi-purpose covers meant for recycling and obsessional observations. Šerých both simulates and mocks self-imposed rules and aesthetics, creating his own personal system of organized distance.
