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 iteven 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.