Michal treated his art as a tool for direct interpersonal, visual communication, has the courage and inner energy. It originates from a desire for spontaneous expression and carries an element of rebellion and social commentary. He shows constant countercultural readiness to carefully register the surrounding world and a desire for an authentic need for an immediate creative reaction to everyday observations and experiences. Close to the artist’s heart is also the idea of individuality of works resulting directly from the nature of inspiration coming from a specific place, whose identity is included in the creative process.
The idea of an artist is to create his own, bold, cliché-free symbolism and iconography, which is open and interpretive bearing, often based on intuitive choices, always ready to negotiate meanings and be complemented by the recipient’s imagination and experience. Social topics are often the starting point of artistic reflection
With the aim of strengthening the overtones of the works, the artist reaches for diverse media and techniques. He applies equally the value of the plane and evocative style of the installation art. These means used deliberately and with purpose, give the displayed motifs ambiguous character
Rejner uses objects and items taken from everyday life of the people, objects that each of us has and knows. The artists uses a creative process inspired by a specific place and a problem to built his conceptual sculptures. Conversation is limited to leave the viewer with minimalitic image of Rejner’s vision. Michal creates a very close contact between spectators and an artwork, the artist lets them to touch the Surface of the piece of art to make them feel the Energy of the material and better understand the idea by experience with it.
In flat practice Rejner is hidden the problem of exclusion, racial intolerance, loss of dignity by an individual, economic inequalities, homelessness or loneliness. These are current topics regardless of latitude. One of the aims of painterly expression is the need to identify and extract the above-mentioned problems from the ‘invisibility zone’. An idea of movement and connection, is to specify and close the cycle of images symbolically.
The artist incorporates the theory of unbiased eye and postmodernist openness to visual stimuli as well as information ones, which unexpectedly, impulsively and intuitively penetrate the realm of imagination. Sometimes, even unintentionally, they can become a material of art and starting point for artistic experiments. Michal Rejner treats openness to experimental workshop practices and readiness to seize sudden inspiration as essential elements of artistic practice.