Living and working as a freelance photographer in Germany. Degree in Design in Darmstadt.
Since 1990: Numerous solo and group exhibitions, Publications and represented in Public and Private Collections.
This is a truly phenomenal, extremely unusual collection of novel picture themes that
have barely anything to do with the uncountable daily offerings of photographed
pictures in the media, taken in public places or at art museums. So Pavel Odvody's
picture world may appear strange to us at first sight... we are unable to associate a
visual experience with it, with only a few capable of sharing his perspective. But of
one thing we can be certain: this isn’t today’s way of taking pictures – either as an
applied photographer or a so-called free photographer.
But at second glance, it gradually crystallizes what he is driven by. He is not
concerned with exterior reality, i.e. the subjective presentation of an objective
physical world. Rather, his passion lines in the visualization of an inner reality. He
doesn’t focus on the expression of a concrete human face, for example, but the
expressive power of the face in itself; nor the beauty of a certain body, but the
manner in which bodies converge into something like 'beauty', fully elementarily in
changing light and moving phases; not the form or material of an object, but the
conditions and stipulations needed to make the 'essence' – that which prevails over
an object’s transience – visually graspable.
Only the anxious look at the exterior, at the pictures’ superimposed, interlocked,
divided and recombined segments, focuses our eyes to the interior, to acquired and
approved arrangements which – precisely because they are familiar and expected –
no longer have to be perceived exactly. Only the disproportion sharpens the eye for
proportions. Only the blurring contours allow an object, a figure or grouping of
bodies to become clear. Only the concentration of movements sensitizes us to the
question of how and when movement transforms a body into a figure and how it
even leaves traces in things at rest.Only the shade describes the light.
Prof. Peter von Kornatzki (excerpt from text written in 2005).
Asked about the content of my photography – well, one possible answer could be after
Fernando Pessoa - The Book of Unrest:
»Every thing that man interprets or expresses is a comment at the edge of a completely
obliterated text. The comment more or less shows the meaning that the text had; but there is
always doubt, and the meaning may vary.«
Egon Schiele Art Centrum (CZ)
Pfeifer Collection (CH)
Musée de la Photographie Charleroi (B)
2012, Pavel Odvody »Fotografie 4«, selected views, 53 pict
2006, Pavel Odvody »Licht, Detail, Bewegung« Kunstarchiv Darmstadt, 48 pict.
2000, Pavel Odvody »Fotografie III«, Lindemanns, 36 S. 22 pict.
1997, Kolektiv »Dimension of Light«, Klatovy, 4 pict.
1996, Pavel Odvody- Fotografie II, Lindemanns, 36 S. 22 pict.
1993, Pavel Odvody- Fotografie, Lindemanns, 36 S. 22 pict.