A strong element of Pančoch's creation is working with light. The lighting objects in their form refer to the minimalism of the late 1960s, which was strongly associated with the use of advanced technologies and thus enabled the newly expanding field of light design to become a distinctive artistic tool. However, Pančocha redefines this in his work and places it in the context of the digital and virtual world, in the extent of which it would be difficult for artists to imagine at that time.

Pančocha addresses the question of time in his circles, a motif to which he returns again and again. He is fascinated by the shape of the circle with its universal meaning, in particular in architecture, where it has been considered the most perfect geometrical symbol since antiquity.

The space in which Pančocha places his objects plays an important role content wise. In the context of the exhibition Conquering Space, the circle is understood as a representative of time - past, present and future, and as an imaginary shift from two-dimensional space to three-dimensional space. The circle seen as an outline becomes then in the three-dimensional space a sphere.

Light paintings are a novelty for Pančoch. The mental process began in painting - Pančocha exported the painting to the present and, like the minimalist artist Dan Flavin, drew color from the boundaries of the canvas into our physical space, Pančocha paints images with light, referring to an intuitive finger movement across the screen. The result is abstract paintings depicting a stroke and a trace of light created by man, similar to brush painting.

 

Through the mythological tool (carrier) Myslánka, designed for a journey outside the physical space, we look together with Pančocha outside of our physical world and move into a virtual field, where the viewer loses orientation. The video showing the relics of ancient or perhaps contemporary civilization underlines this impression.

However, this uncertainty forces us to reconsider the way we perceive a work of art, our own physical space, and leads to questions of the liberation of our minds, often trapped in a network of virtual images without content. As in the installation of cameras resembling the eyes and limbs of a spider.

This is not a generational statement or a testimony of the time. Generation Z, with whose motive Pančocha worked in the past, is constantly evolving and therefore cannot be clearly defined. However, Jan tries to look beyond, to grasp the future, which transcends us with its fluidity, that is why he longs to represent it here and now.