“Weaving through the entire exhibition is an idea of the artist, who is saying that even a common artefact or component of the exhibition space, and indeed the exhibition space as such, may be a subject of art. But equally that (seen with a certain humorous overview) it has the right to its own form of existence and to a roguish revolt against its ordinariness, or equally to an expression of resignation; but above all it is entitled to want to be a fully validated artwork (along with those we are normally able to imagine).
And this also applies to the Walls constructed by the artist in such a way as to give the impression that they belong to a similar and yet different reality. Under the burden of their own memory, perhaps, they have somewhat demonstratively come to life and shown another face – on the one hand the playful form of a sphere or crumpled paper, sublimation of the essence of the separating element (of the walls only the doors remain), weariness heading towards dissolution into white dust, a dream of penetrating – “pouring” further into the space; or they have simply been shifted to another place, or they have swapped roles with the floor.”
Mira Sikorová-Putišová, from texts for Stano Masár’s exhibition How to Read the Reality?