Michal Cimala (born 1975) is among the authors directly connected with his time. In his sculptural and painting work, he thematizes the enthusiasm and anxiety of the present, which is a foreshadowing of an uncertain future. It can be anything between a progressive technological miracle, a human apocalypse and an arid wasteland in Cimala's eyes. Art and the whole culture seem to be attacked by a kind of decaying virus that deadens the living and enlivens the inorganic. Robotic bodies, anthropomorphic machines, phantom memories of the future come to life here. But the real human dimension disappears from the imitation system. Culture is transformed into a technological reproduction machine flooding the world with the waste that becomes the history of tedious reproduction itself.
A human being loses a trustworthy face and thereby also self-awareness about the limits and meaning of one's own existence. It turns into a cosmetic and fashionable "production process" of its own, constantly smeared and regenerated mirroring, in ever more schematic and ever sharper contradictory polarities (luxury and misery; success and loss; victory and fall; youth and old age). Everything is absorbed by accelerated time, dromology, which on the one hand generates exalted imagery and intoxication, on the other hand fatigue, hopelessness and resignation. Reflexive and self-reflexive corrections of the seen are contaminated by the speed with which data flows in all directions.
Somewhere here, Cimala's sculptural and painting morphology, full of spontaneity and improvisation, is born. It materializes and makes present ideas about a situation of permanent transformation manifested by the constant volatility of forms, the collaging of materials and hybrid exuberance, but also a sense of perverse playfulness, from which, in the manner of superheroes, various mutants embodying a disturbed imagination are born. Nothing here is permanent and forever. Of all that is new and progressive that is exposed at this moment, at this moment, tomorrow's damnation and death speak. They are "vanitas", "mementa" sculptures, but also "tempter" sculptures, seducing to an intoxicating ride through time that promises and smears any internal or external limitations. What will happen after that is not important, what is important is the present, here it is necessary to exploit ruthlessly, even if it means tomorrow's fall.