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Pavlína Fichta Čierna (born 1967 in Žilina, Slovakia) studied at the Academy of Fine Arts and Design in Bratislava, and currently is a doctorate student at the Academy of Arts in Banská Bystrica (doc. Miroslav Nicz). In her work she primarily focuses on the stories and lives of individuals who, for various reasons, live on the edge of our society. On the one hand the artist works with themes outside the media interest, concentrating on disabled people, or the main protagonists of her video documentaries are individuals living their own way of life that does not comply with the rules of the consumer society. The chosen topic is also reflected in the for malrendition of works – Fichta Čierna`s visual language is direct, severe, devoid of any useless embellishments distracting the viewer`s attention from the presented theme with strong documentary-like features. Fichta Čierna also often utilises in her works the specific interface of the private and public spheres. Social research is deeply embedded in her work showing her profound interest in this matter.
Her significant psycho-social intro spections into the lives of members of disabled and social minorities include multi-layered documentary portraits (Janka Saxonová, 2002, Diffusion portrait, 2007, the project Tender Observation: Report of Eva Č.`s Realia, Mail for You). A series of three videos Three Men for Life (About Jozef, From Vlado, With Maroš), 2003 not only provides a portrait of three men coming from various social strata, but also reflectsthe author`s feminine view of masculinity. In the video diptych The Siblings (Juvenile David R., 2004 and Jarka in between, 2004) Fichta Čierna addresses social, cultural and psychological issues connected with the Roma ethnic minority. Fichta Čierna`s approach is characterised by empathy – the ability to understand and share the feelings of an individual. It reflects the artist`s personal approach, usually bearing strong emotional connotations and an attempt to get in and understand the intimacy of an individual. Her latest videos (Repositioning, 2010, Therapy, 2010, Home Identity, 2011) serve as a form of therapy provided by the sincere testimony of the respondent. In the videos Therapy and Home Identity the artist herself becomes the main participant revealing to the viewer not only the privacy of other people, but enabling him to observe her own, thus making him feel like an intruder, almost a voyeur secretly peeping into the lives of others. In addition to her video works, Fichta Čierna has also created the interactive installations (Manipula.tor, 1999, Neither Much nor Little, 2000, Disturbed Privacy, 2002, Infoterminal, 2004), digital prints (Sentiment on the Background, 2009, Attributes of Equality, 2007, Solution, 2006). She has exhibited extensively both at home and abroad.
PAVLÍNA FICHTA ČIERNA, Home Identity, 2011, video, 9 min 59 sec.
Katarína Slaninová
