Jakub Gulyás, Glacier des Bossons – Glacier de Taconnaz, 2025, UV Print on Aluminium, 150 x 100 cmPoster / Jakub Gulyás, Aiguille Ravanel – Aiguille de Triolet – Glacier d’Argentière, 2025, UV Print on Aluminium, 150 x 100 cm

The joint exhibition of Jakub Gulyás (1980) and Simona Janišová (1985) at FOG Gallery explores transformations brought about by time, motion, and elemental forces. Ceramics, photography, and video meet within a shared space of transition, where light and darkness, solidity and liquidity, or emergence and dissolution do not appear as opposites, but as states that continually flow into one another.

Simona Janišová’s sculptures Dead Girl Walking and Alive and Standing embody two phases of material and existential change. Each is displayed in a separate room, yet together they generate tension and interaction, as if observing one another across the gallery and assigning each other new meanings. Clay carries the memory of gesture, and fire alters only its form, not its essence. Just as lava hardens into stone, her sculptures are not modeled as definitive shapes, but as objects in motion. They are records of a process in which destruction becomes purification.

The images of Jakub Gulyás operate with the same rhythm. His large-scale photographs depict ice, water, and rock formations as landscapes of constant flux. What is solid was once liquid, and what is liquid may solidify at any moment. His video of breaking waves develops this principle even more explicitly: the flow is ongoing, and form is born and dissolved every second. Here, light and shadow do not collide as opposites but as two sides of the same substance. This phenomenon is illustrated by one of the smaller photographs, showing the sun’s glow and dusk coexisting simultaneously without negating one another.

Within the context of the two artists’ works, contrast does not arise, continuity does. What is water in one space becomes stone in another; what stands still in one piece begins to move in the next. The artworks are placed in an imagined dialogical relationship. They interpret, influence, and converse with each other, shifting themselves into new layers of meaning. They mould a fluid spectrum, a boundary that is not fixed, for it too is subject to movement. The exhibition is not a reference to literal current, but to the state of “in-between”. The moment when something breaks, spills, or reshapes. Matter changes, yet never ceases to be what it was, just as darkness is nothing more than the absence of light.

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