The works of the young artist Peter Sit show a specific connection to the main fields of art he has been studying - photography on the one hand and new media on the other. Here the conceptual approach to the mimetic depiction of the everyday but rather abandoned enviroments and/or precise constellations of chosen objects meets the passion for the enormous expressive possibilities of black and white. It is evident that Sit´s "retro" visual vocabulary has its origin in his re-thinking of certain features of avant-garde collages and assemblages. The way his ideas shift and unsettle the meanings of the words betrays his affinity to the concept art of the 1970s. In his still lifes Sit shares the feeling of collective nostalgia for the utopism and unfinished desire for idealism of modernity and at the same time also an awareness of their failure.

Sit is a member of the generation that has grown up to the world of plenty, to the world of social paradoxes and recurrent crisis not only of the global and local economies but also humanity as such. Many young people have thus been searching for their life attitude and life-style choosing their own path between the height of consumerism and the international minimalism of living. The current art trends also seem to offer the open scissors of the two opposities, redudancy vs. reduction, greed vs. asceticism of form and matter.

The tension produced by the above-mentioned polar opposites, between "too-much" and "too-little", is the essential component of the ambiguity that is perceved in Sit´s photographic and object still lifes. In art history, the genre of the still life often reflected the values of society but in contemporary art the still life has served mainly as a tool for the subversion and critique of those values. In Peter Sit´s photographs, objects and installations there is a strange oscillation of both opinions: the pure minimalist praise of teh everyday object and the subversion of the appearances and the material world. In hisalchemist desk, the minimalist assemblage of vernacular motifs of everyday objects is shaken in its familiarity by one disturbing moment - the contingent character of things that cease to possess their usualwords and concepts and fail to bring about the new ones. The mind-puzzling topics of the interruption and the void seem to be central ideas to all of Peter Sitś visual considerations.

Lucia Gregorová