2011 – 2016, studied at the Academy of Fine Arts in Krakow in the Classical Painting Studio led by Prof. Matuszewski. 2018 – 2021, completed his doctoral study at the Academy of Arts in Banská Bystrica, led by Prof. Ľudovít Hološka. Member of the audiovisual grouping Mice in the Field (together with Jakub Mudrák), which involves music, screenplay writing and multimedia work. Alongside painting, for many years engaged in drawing, graphic art, animation, screenplay writing and music. 2023, 2024 and 2026, finalist in the Painting Competition.

David Javorský is one of those artists with a strikingly distinct painterly language, which naturally also reflects his experience of studying at a Polish school of painting. His works are autobiographical, profoundly narrative, yet never purely literal. Instead of closed stories, they offer fragments of situations and hints of events. In various ways the artist opens up profoundly intimate themes, while himself conceiving of his art as “a coding of reality” – a process of capturing intricate signs of the world and rendering them, transformed, in the structure of the painting. Javorský designates his paintings by the term “existential collage”; by their means he attempts to grasp the complexity and intricacy of the human psyche (in its tireless search for purpose) and simultaneously thereby grasp the contemporary human being, who is lodged in a hyper-complicated world.  

His final entry FATHER (2026) is a concentrated expression of Javorský’s long-term painting programe, while at the same time confirming his distinctively narrative approach, accented by the strong inner rhythm of the artwork’s construction. Javorský works with traditional painting techniques (oil and egg tempera), which condition the nature of his paintings. Again, this composition interests one by its epic sweep and scenographic quality, with many small details of events and a distinctive use of colour. The composition recalls a stage set (mise-en-scène). Via a layering of colour, Javorský creates a space where reality is constantly uncovered and again hidden.  His interest is directed towards the human being seeking his/her own place in the world. He defines that person’s identity by composing diverse symbols, visual signs and pictorial structures. Linear drawing, expressive painterly gesture, and sensitive work with colour, become bearers of the event and authentic experience. For Javorský, the painting is a symbolic child: “something spontaneous, born out of passion, intuition and inner impulse. A mystery that is revealed and again concealed.” The figure of the father (geometer) is set in a space of relationships, tensions and constructions. He is not only a protagonist of the scene but also a principle of knowledge: an inner observer who tries to understand the world, using the inherited order. The geometer thus becomes a metaphor for a human being who incessantly measures the world so as to find his own place there.