诺沃提尼·杰若米
, Ceský Brod, Czechoslovakia — 生活并工作于 ｛location}
诺沃提尼·杰若米（Jaromír Novotný）是一位不安于室的探索者，对于探索绘画的可能性和极限性抱有永不止息的追求。杰若米早期的作品灵感源自建筑，风格极其内敛暗黑。自2011年起，杰若米尤其关注不同色调的黑色。随后在2014年，他开始将创作用色局限于黑白两色，同时不使用画框，而是在随意悬挂在墙上的画布上作画。不久之后，他又开始尝试在人造欧根纱上创作，从那时起，他的作品变得轻盈许多。
ý）是一位不安于室的探索者，对于探索绘画的可能性和极限性抱有永不止息的追求。杰若米早期的作品灵感源自建筑，风格极其内敛暗黑。自2011年起，杰若米尤其关注不同色调的黑色。随后在2014年，他开始将创作用色局限于黑白两色，同时不使用画框，而是在随意悬挂在墙上的画布上作画。不久之后，他又开始尝试在人造欧根纱上创作，从那时起，他的作品变得轻盈许多。
关于 ｛艺术家｝
以黑色为基底色，白色便是色调最浅的黑色。
在他的作品中，绘画的痕迹是透明的。所使用的水和颜料，被透明硬纱覆盖的其他材料，面料的走线部分，以及可见的画框，所有这些元素从方方面面诠释了透明度，同时又挑战着透明度的存在。当杰若米在找寻一种透明的纺织品时，人造欧根纱取代了画布，出现在他脑海中。欧根纱赋予白色一种不同的特质，这种特质超越了材料本身，使白色“更白”。
Novotný maintains an awareness of the painting as an object. He attempts to make the medium of paintings visible, as if they originated organically through their own nature without the artist's effort. He considers the work's physical verticality in form and composition, as well as the scale of 1:1 between the human body and the painting itself, to be constant parameters of a default setting with respect to the viewer. In this sense, the paintings become like a window, transparent and equal to the size of the human figure which stands before it.
The paintings reveal their essential properties, crossing over the boundaries of visibility. The white transparency appears to limit the range of colours that may be derived. The surface of the painting appears to be just detaching itself from the uppermost layer of the canvas, as though it were a type of initial motif, which nearly blends the surface and format of painting as an object itself. It's a narrowly delimited "phase" of minimal transformations of colours and composition that give rise to an important functional aspect of the work-to make the medium of art visible.
By doing what the painting wants, Novotný’s practice does not offer a straightforward critique of the abstraction of Minimalism or any movements in the way that some artists felt driven to respond to the rigidity of high Modernism and Postmodernism. Yet there are indeed connections with the art movements rooted in Novotný’s cultural background. He perceives them in a rather emotionally organic way. "I am not a conscious follower, at least not consciously, of any modernist theory or utopia," said Novotný. By dislocating and reforming elements of the process, the result is a hybrid that recalls the origin of the work itself.
In 2017, Axel Vervoordt Gallery presented Jaromír Novotný’s first solo show "Look Again" in Hong Kong. Followed by a second solo show in 2020 "Just a Narrow Range of Possible Things".