“The world” is a broad concept. We have grown used to applying it to the whole of external reality, but it can also be applied to smaller components of reality – components that can be as small as the micro-world of the household or the work desk. Each such micro-world is separated from its surroundings by boundaries. Those can take on many forms, such as a wall, a field of vision, or imaginary boundaries set by thinking. Yet, everyone knows from their experience that countries, for example, are not separated from each other by a single borderline, but rather by a kind of “no man’s land”, an intermundium – a space between worlds, whose existence few people consciously realize. The same intermundia are hidden in every little detail of our daily, stereotypical lives. Exposing their existence, or even exploring them, is, however, possible for only certain individuals. Most often they are people endowed with delicate perception and with a “different” kind of sensitivity. The main topic of interest for the Czech visual artist Patrik Proško (1974) is also reality and the questioning of its nature, which usually occurs during an event of crossing, pushing, or even removing of boundaries in the broadest sense. In practice, this can mean overcoming one’s limits, travelling between countries and continents, experiencing a transformation of an artistic tradition, or monitoring the limits of the surrounding reality. Proško considers himself a “frontiersman” for whom the exploration of limits and frontiers is contained in all aspects of his life. His work is most often based around an optical illusion or visual manipulation that can expose the intermundia hidden on the edge of reality and transform the world of our mundane, every-day perceptions into a magical space full of surprises. So far, Proško has created over 85 artistic projects in the territories of 27 states in which he continues to balance on the edge of reality. From mystifying thematization in his hyperrealistic works and illusionary anamorphous projections, he has moved on to working with reality itself, treating it as his painting canvas or sculpting material. Visual art itself has moved into the center of his attention,as both the main topic of reflection and a “method” for life. His usage of classical, but nonetheless “liberated”, artistic techniques is an example of that. By no coincidence does he also speak about some of his interventions into landscapes as landscape paintings, or about others as sculptures, despite that they have been made with paint. A similar case is his method of documentation, in which he intentionally photographs his temporary landscape realizations, made with bio-degradable paint, “as if they were a painting or an image” The interventions of Patrik Proško are, before all, a way of relating to the world that helps to understand it better. His landscape interventions are distinctive for their careful selection of location, in/dependence on the viewer, and temporariness, but their nonetheless important aspects are also a search for one’s limits, one’s own place in life, and one’s own personal qualities, with the knowledge that transience is the only default value of human life and all being. That is why, even for himself, the act is much more important than its material outcome, and because of that none of his projects exist for very long. In addition, he perceives transience, which is contained in his work, as a basic permanent value that affects everything we do in different phases of life and how we do it. Radek Wohlmuth, curator