Similar to the process in which Pavlik transformes space into surface, he does with time and duration in his portraits. His pictures cut off the serial context of the digital sequences. They are "silent pictures", taking stolen time and restoring it to the spectator. The sitting and walking figures in his large-size paintings seem to exist in a kind of time-out, leaving behind the empty noise of simulation.

Two Portraits (1999)

It is thus only consequent that in video works like Two Portraits (1999) or Good Night Vienna (2001) Pavlik has passed on to oppose the picture catapulting electronic devices with still images in which the superposition of surface and theme is set in the fields of the electronic media, a process which originally developed from the painting. They become integral parts of a process they aren't designed for: "to show that human imagination is unique, unreplaceable and can't be simulated." - Alexander Schadt

DIARY Eyes on (2009)


Conferenza (1997)

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