Press
The Interplay of Time, Memory, and Perception: An Interpretation of Painted Mosaics
In Cacek’s work, the painted mosaic technique—comprising individual squares of color—serves as both a formal structure and a conceptual exploration of how we perceive and process time, memory, and identity. This method of representation is not merely an aesthetic choice; it is a deliberate framework that challenges the viewer’s engagement with the artwork and forces a reflection on the complex relationship between physical proximity, cognitive distance, and emotional understanding.
At first glance, the work may appear fragmented or abstract—an array of discrete color fields with no immediate coherence. This is particularly true when viewed up close, where the image dissolves into individual units, each piece standing isolated from the other. This abstraction mirrors our experience of the present moment: disjointed, chaotic, and often difficult to understand in its immediacy. Much like our day-to-day lives, the close-up view denies us the luxury of context. Meaning, in this sense, is elusive. This tension between abstraction and representation introduces the viewer to the core of the artist’s exploration: the passage of time and the layers of perception that shape how we make sense of our experiences.
However, as one steps back physically from the work, the image begins to resolve. The individual color squares coalesce into recognizable forms, and the scene comes into focus. From a distance, a greater sense of clarity emerges, and the fragmented elements reveal their purpose, much like how the passage of time allows us to understand past events with greater ease and precision. The image that once felt overwhelming and obscure becomes coherent and legible, highlighting how memory works: details are often blurred in the moment, but over time, they form a more cohesive narrative. This shift in perception mirrors the human tendency to gain clarity and insight as we distance ourselves from an event or experience.
The interaction between abstraction and representation is not only a visual process; it is deeply rooted in the theory of Gestalt psychology, which asserts that the mind instinctively seeks patterns, unity, and coherence. The fragmented squares in the painting, when viewed up close, could be seen as separate, disjointed parts of a whole. However, as one steps back, the brain begins to assemble the components into a unified image. This process of “completion” is central to Gestalt theory—the idea that the mind actively organizes visual stimuli into coherent wholes, even when faced with incomplete or fragmented information. The act of stepping back mirrors the mind's tendency to synthesize disparate pieces of information into a clear, integrated understanding. It is only when the viewer distances themselves physically and cognitively that the work fully reveals its meaning.
This dynamic of movement—walking up to and away from the artwork—becomes a metaphor for the passage of time itself. The closer we are to an experience or memory, the more fragmented and abstract it feels. We are often too immersed in the moment to understand its full significance. But as time passes and we gain emotional or cognitive distance, the fragmented parts begin to fall into place, and we can view the past with greater clarity. In this way, the viewer’s physical movement through the space becomes a reflection of the cognitive process of memory: the act of moving closer to or further from the work mimics how we engage with our own recollections—sometimes overwhelmed by detail, other times finding order and meaning.
This conceptual framework invites a deeper reflection on how memory is not simply a static record of past events but a dynamic and evolving process. Just as the viewer must actively move to see the whole image, memory requires active participation. It is shaped not only by the immediacy of the moment but also by the passage of time, reflection, and distance. The work challenges us to consider how much of what we know, and what we think we understand, is shaped by our ability to step back and gain a broader perspective. In the act of stepping away from the artwork, the viewer is reminded of the role of time in the process of understanding—how clarity emerges not only through observation but through reflection and distance, both in space and in time.
Ultimately, Cacek’s work invites viewers into a physical and intellectual journey that parallels the way we engage with our own lives, memories, and histories. The tension between abstraction and representation, coupled with the experiential nature of movement, becomes a powerful metaphor for how we perceive, remember, and make meaning of our past. The work suggests that time, like space, is a necessary dimension in understanding our experiences—the farther we move from a moment, the clearer it becomes, and the more complete the picture appears. Through this process, we are reminded that understanding is not always immediate; it is a gradual unfolding, a slow resolution that requires both distance and time.
Two paintings - Stop (48"x24") and Everyman (60"x40") - have been selected for publication in Studio Visit, volume 36. Seven hundred and eighty two artists applied to the competition and of them, two hundred sixty seven artists were selected for publication. Jessica Roscio, of the Danforth Art Museum in Framingham, MA curated volumes 35 and 36 of Studio Visit.
"The artists featured in Volumes 35 and 36 represent a wide range of aesthetic viewpoints that I think accurately capture the pluralistic time we live in. Some of the artists featured in Studio Visit are self-taught, while others hold graduate degrees. Some have shown extensively, while others are at the beginning of their careers. Regardless of their respective backgrounds, all of the artists featured in Studio Visit are serious about and committed to their work," says publisher Steven Zevitas.
Studio Visit, produced by Open Studio Press, is distributed to a total of two-thousand galleries, museum curators, and art aficionados throughout the country.
Cacek Exhibits at ISU Memorial Union
Light, Color, Form is the title of Roy Cacek's solo exhibition at the Iowa State University Memorial Union Gallery. The exhibit will run from May 24 through July 10, 2016.
DSM Arts eNewsletter
A nice write-up by Chad Michael Cox in the monthly newsletter for DSM Magazine in a featured section called The Artist's Way.
Des Moines Arts Festival Selects One Professional Artist
from Des Moines
FOR IMMEDIATE RELEASE
DES MOINES - Roy Cacek’s representational abstract art, sometimes called “painted pixels,” is certainly unique, but it’s more than his creativity that makes him one of a kind at this year’s Des Moines Arts Festival, it’s also his address: Cacek is the only Des Moines-based professional artist selected to participate this in this year’s show.
“There are a number of other metro artists who will be there, but I am the only one who lives and works in Des Moines,” Cacek said. “I think it’s a coincidence, as there are many excellent artists living in Des Moines, but I am very proud to represent the city’s professional artists this year.”
Cacek said that setting up for art festivals is sometimes difficult for artists, so he does not apply for many, but the quality of the Des Moines event led him to want to participate.
“There are many resources needed to do it correctly; it’s far easier to have a gallery show,” Cacek said. “But Des Moines’ art scene is really coming on strong in terms of number of artists and quality.”
Cacek’s grid-based work looks rather abstract when standing close, but when one steps back, one sees an overall image created by the individually painted squares. He creates his work based on photographs of people he’s met or places he’s visited or other images he finds compelling.
“My work can be seen in private and corporate collections throughout North America,” Cacek said. “The largest paintings work well in spaces where people can stand far enough back for perspective, while smaller pieces are more suitable for residential environments.”
The Des Moines Arts Festival continues to grow into a major force in the arts scene, drawing more than 1,104 applications from both professional and emerging artists. Out of those applications, 191 professionals and 20 emerging artists are selected to display their craft. More than 200,000 people are attracted to the festival in downtown Des Moines, held this year from Friday, June 28 to Sunday, June 30.
“It really is an honor to be selected,” Cacek said. “Even more so when I consider the fantastic artists that are based right here in Des Moines. It’s important to me that I represent all of us well.”
Cacek’s booth will be at GN55C on the northwest corner of Grand Avenue and 12th St - one of the first booths visitors will see when entering the festival from the Grand Avenue entrance. Prices for his work begin at $150 and vary depending on size. To view examples of Roy’s paintings, visit www.roycacek.com.
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