Alžběta Josefy has long been fascinated by the painterly nature of factual situations. At first it was an interest in the external aspects of objects and figures. It is about how, under certain, changing conditions (e.g. light, color reductive, etc.), what these "things" represent within our attention, how they interfere with our sight and through it the movement of our reflexive consciousness. In the outline of the masses and in the material of the surfaces.
Situational phenomena such as materialized and dematerialized painting studies gradually turned into an interest in the inner essence of what lies behind the outer form. The author became interested in the back sides, inner folds and cores of problems, from which what is only partially seen and viewed by our sensory experience sprouts in the hidden and obscured. And if we talk about the "core" and the process of "germination", then this whole new interest of Josefy can be analogically compared to the investigation of the relations between the assumptions and the realizations of what we call forms, from the point of view of the supposed "life" inside the matter.
It is these principles – birth and demise – associated with living organisms that are revealed painterly somewhere in the depths of the painting materials.
For Alžběta Josefa, the picture becomes a relational field of latent events, which must be given form in order to appear to the human eye. Since these are events inside painting materials (colors as concrete matter), the author proceeds methodically and associatively at the same time.