Farmanová genuinely observes and follows the magic when something happens for the first time. Her paintings perceive the action as a sacred ritual, as the affinity between purity and courage.
Jana Farmanová has been active in the art scene since the end of the nineties of 20th C. It is, however, only in the first decade of 21st C that she started to develop themes of the relationship between her daughters and depict their approach to life. The fact that her daughters are her models does carry the meaningful significance. It just reflects on her straightforward and intimate approach to reality. Motherhood as a topic did not appear in her works diachronically. When she became mother her iconography was more focused on female emancipation and related topics that she derived from her personal or shared experience (series Body Colour Paintings, Telovky, 2000, series Ženské hračky, Women Toys, 2005) 4. In this respect it is important to contradict common opinion (of a male onlooker) that motherhood as a topic includes a number of problems that are related only to women authors and thatit is exclusively important in the period when women artists become mothers. It was in 2002, and more intensively in 2005 that the questions of growing up, a metamorphosis of a girl and other associated themes started to dominate her work. Because Farmanová sees “painting as a way of gaining knowledge”6 and knowledge as an integral part of a life cycle, she develops the theme of female metamorphosis with a sublime persistency. To observe adolescence requires minute distinctive tools, the visual recording of experience brings her to unortho- dox observations: sometimes she reflects on factual levels, sometimes she gives us a glimpse of an ephemeral world we know little about. She perceives and reflects on subject matters linked to transformation and metamorphosis variably she renders them both as a positive and negative experience (Youth Can Sometimes be Dark, Mladosť býva aj temná, 2014), she reflects on youth through the acts of self-absorp- tion, kitsch, frivolous coquetry, unhealthy role models, she also observes the changes of young people’s attitudes and offers them to an adult recipient. The artist genuinely observes and follows the magic when something happens for the first time. Her paintings perceive the ac- tion as a sacred ritual, as the affinity between purity and courage and this affects her art form and colour scale. She works with colour shades evoking Pomeiian red in her painting Ester Is Dyeing Fabric (Ester maľuje látku, 2014). The carmine red is complemented by golden, accen- tuating the central figure and glorifying the act of dyeing the fabric. The natural structure of plywood works as an integral part of the painting, as its background, the rest of the painting thus makes an impression of a fragment, it is like a remnant of the past newly found.
Jana Farmanová is a figuralist painter, she employs gesture in her paintings as a cultivated, concentrated unit of artistic composition. The space of a painting - whether it is paper or canvas, the acceleration of gesture, or its reduction and an uncovered, free space create her own laboratory where she often travels the road not taken - painters usually define this experience as an adventure of painting. Drawing or water colour painting are for her tantamount to paint- ing on canvas and thus her oeuvre is formally diversified. As an observer of her work it is difficult for me to speak about her work and not to think about her persona, her thoughts. It seems to be legitimate to unite these aspects of her life since she claims “the dualism of the Western world where work and personal life have nothing in common, is not my way”7. Therefore this text is dedicated to her own iconography. Art = life.