People, animals, things and flowers in Dan Trantina s paintings.

people,
animals,
things
and flowers
The work of Dan Trantina itself, standing in front of the viewer as a definitively autonomous entity existing independently of its creator, and in this case, the elaborate author mythology residing in the images as metadata of distinct creative uniqueness appears to be permanently remarkable. In addition to the expressive artistic form that uniquely, often ironically treats the impressive breadth of various contents, the paint applied in layers or directly from the tube is an equally dynamic visual entity.
„Trantina‘s painting work consists of a strong painterly expressive gesture on the border between abstraction and reality. For Trantina, in addition to expressive painting, the content side of the paintings is also important, where he plays with the profane and sacred world with his own blasphemous humor. In Trantina‘s painting the cosmos, images of saints and gods intermingle with Paris Hilton‘s peeing dog. (Leoš Válka, DOX)
In other words, the key to grasping the author‘s painting is to see the image as a complex visual structure whose formal nature is both synchronous and asynchronous with its artificial /non-artificial narratives.
„Trantina‘s paintings are maps of his inner universe that seem unreadable at first glance, but new cosmic spaces open up to the patient viewer after a while of observation. (Jan Melena, Peron Gallery).
In Dan Trantina‘s paintings, the viewer is led out of the dark cave of timelessness into a radiant moment of understanding between chaos and order, into the interstices of time and being. In other words, the intimate encounter between the viewer and the creator can be made visible by the dialogue between the border and the interface, through the lens of which the surrounding world does not appear as a self-serving ornament, but as a clearly articulated and comprehensible dialectic of being.

PhDr. Tomáš Koudela