The artist has long established himself on the Czech art scene as a prominent contemporary visual artist working in the medium of large-scale abstract painting. The exhibition at König Vlk Gallery marks the first extensive presentation of his work to a Brno audience. His work has previously been shown, among others, in exhibitions such as (2025) Conditions of Art, Pragovka Gallery; (2024) Known Unknowns, Gočár Gallery in Pardubice; and (2023) Fragile Destruction, Curator Contemporary Gallery.

In 2023, the artist published the monograph Průhledy, featuring texts by Karel Srp, which was launched at Kvalitář Gallery in Prague. Matoušek’s work is included in the collections of Gočár Gallery, COLLETT Prague/Munich, the collection of Francesco Augusto Razetto, and others.

The artist’s current work unfolds within the realm of large-scale, in many cases monumental painting, characterized by a pronounced engagement with spatiality, texture, and materiality. The abstract dimension of the paintings transcends a fixed interpretative framework, foregrounding a distinctive painterly technique known as “rolling,” in which the artist applies successive layers of paint using a roller. Over the course of the process, the roller itself becomes an autonomous recording medium—ultimately emerging as a finished object.

This approach establishes a visual parallel between the painterly tool and the resulting artwork, further intensified by additional materials that Matoušek incorporates into the layered structure of his paintings. Concrete, in particular, completes this stratified interplay through its material finality, effectively sealing the works against any further cycles of rolling. In some cases, this lends the pieces a sense of infinite spatial extension as perceived by the viewer.

The Eternal exhibition invites us into infinite visual worlds. Spaces where a symbolic dialogue opens profound questions about human presence, memory, and the core of our existence. Martin Matoušek presents his latest cycle from the Layer Deposit (Depozit vrstvy) series, a centerpiece of his long-term artistic exploration.

Dominating the space of König Vlk Gallery is a monumental, site-specific triptych aptly titled Altar (Oltář). Here, Matoušek weaves together his signature techniques: the pressure of the roller, the raw weight of cast concrete, and the rhythm of structured brushstrokes. These imposing layers are more than just a technique; they are the heartbeat of the entire exhibition.

While the name Altar and the triptych format naturally evoke religious traditions, Matoušek isn't interested in traditional liturgy. Instead, he invites us to a different kind of ritual: the act of painting itself. In his hands, the altar isn't a place for ancient ceremonies, but a physical record of a powerful struggle between the artist and his material.

Every single layer represents a moment in time—a specific decision and a physical movement. The way he rolls, casts, and builds his strokes mimics the slow, geological settling of the earth, a theme that echoes through every piece in the gallery. As you move through the space, you aren't just looking at paintings; you are looking at vertical slices of history, revealing the hidden life and time spent creating each work.

In this context, the title Eternal points to the beauty of infinite layering. Every work in the Layer Deposit series is a new chapter in Matoušek’s "archaeology of presence." The Altar stands as the ultimate proof that this creative journey has no end. It is a constant, soulful accumulation of experience and time.

Ultimately, Eternal shows us that eternity isn't a frozen, static concept. In Matoušek’s world, it is a dynamic process, one that, through its raw intensity and dedication, stands bold against the flow of time and space.