Pavel Vošický is nearly unbearably political creature and a lot less an „artist“ in a conventional sense. He didn´t want to exhibit his works because he didn´t believe that his pictures, their message and their sentiments (especially the mediated anger) could be understood by anyone else. He was right to the extent that his life has been so extraordinary that it defies being included into the framework of general history. Ideologies and regimes as well as the state school disciplination needs a „history“ for all and for no one. Such a doctrine can never approach an independent point of view as something other than diversion. Vošický grew up and persisted in diversion.

He went into jail for the first time at the beginning of the 60´s for his public displays of „pure hate against the socialist establishment“, which had been commited by him probably from his childhood. For the same reasons and after leaving the Bory prison he was sent to the „black barons,“ the inglorious auxiliary technical battalion, but it were the very same reasons for which he was admitted to the UMPRUM school of art and also kept there by the rector Adolf Hoffmeister, an active communist himself.

Vošický left the country after 1968 and he worked artistically-politically in America´s presidential and senatorial campaigns. One could say – a succesful art director. He studied in the Washington libraries, he discussed his theories, the bizzare ones as well as the realistic ones, with specialists of all kinds and survivors of unique events. From all this he soldered his own and special opinion on his times, an opinion frequently changed on the basis of newly found fragments.

Pictures and drawings mirror some of his visions in a form resembling posters or comix.

Vošický´s presentation of Czech history which arose merely by a fortunate accident in the public television completes the exhibition of pen and ink drawings from the 1960´s to the 1990´s.

During the last ten years Prague´s walker may notice P. V. strenuously scraping off ilegal advertisement from public property. This permanent selfless struggle – performance – demonstration, hits the feebleness of policies and the crappiness of contemporary art with precise accuracy.