Michal Rezanka

Born in communist Czechoslovakia, already a visible visual art talent, the state used to send me to to special art school after regular school. I do have a lingering memory of my teacher complaining about the endless production of Stalin/Lenin paraphernalia.

Several years after the Soviet Block invasion of my country, my family emigrated, first 2 years in Stockholm...ah those eternal dark winters, and then off to America in a classic emigre style, 9 days by boat via the North Sea, entering the New York harbor around the Statue of Liberty.

Odd culture shock and movement in the school system.
1 year public school
3 years Catholic school, evil violent teachers, memories of sexual segregation.
2 years of a weird New England Prep School, Hopkins, in the same league as Choate etc. Got there on scholarship.
3 years in a dynamic yet conservative High School in a somewhat racist, well off suburb of Rochester, NY. The height of my competitive swimming career with Maurice Keating! Always skipping classes and running away to the art studios.

Attended to SUNY at Stony Brook at the time Gov. Rockefeller wanted to make it the Berkeley of the east and was dumping huge amounts of money and talent.
Initially, due to parental pressure studied engineering, which at first, was somewhat interesting; the curriculum had a lot of theoretical physics, math, calculus...quantum mechanics was fascinating. But when the electronic stuff hit...dullsville.
So since I was a NYS resident and tuition was somewhat manageable, I decided to saty longer and seriously study fine art and all things related. I did study with some “big” names, Robert White, Mel Pekarsky, art history/criticism with Donald Kuspit and Lawrence Alloway (he termed the phrase POP art), and philosophy of art with Victorino Tejera, who was involved with the Beats when at Columbia University and wrote one of the best art criticism books 'Art and Human Intelligence'.

After school wavered between tech and art related work, in and around Manhattan, ranging from photo assistant to data processing to toy design.
When lie in NYC got to be too much , I worked 7 years at the Tallix Art Foundry where we did work for Frank Stella, DeKooning, Nancy Graves, Jeff Koons and the like, and since sculpture is time consuming, got to know them on a personal level. Fascinating work, but gritty and took a toll on health. Plus the glooming era of neo-Bushism was approaching, so needed a change.

Lived 3 years in Seattle until Kurt spilled his brains on the sidewalk, worked for Greenpeace a roadied for all girrrl punk bands. 7YearBitch, L7 etc...what fun...

Returned to the Czech Republic in 1997, became part of the legendary Terminal Bar. Cyberpunks converge in Central Europe and try to make a business...yes, but it worked.

Work mostly in web related fields, but tired of how big corps took it over, so re-evolving my creative interests.

My creative work is very expressive, although hard to specifically pinpoint. Eros and the female form, as well as playing with the borders of things are my main interests...the border between landscape/abstract, erotica/porn, depiction/interpretation. Being on the border, so close yet never crossing it, generates an incredible amount of visual, emotional and psychological charge.

Works in private collections worldwide, looking for a gallery or rep in the EU now.

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