Over the years, paintings have been cumulate and cumulate in the studio, and I try to complete them by frequent looking, thinking and comparing. I try to achieve better and better results either by removing or repainting a part or element that has become obsolete, and I do not hesitate to replace a smaller or larger part of the work with what I consider best. ”Confides František Dörfl in his notes about meanings of creation. In our collections there is another work from the series Construction of Organisms. His motif is more oriented towards the central axis, evoking the decal technique or the Rorschach test. The elaboration of the central motif is related to the author's effort to revitalize the ornament, in which he agreed with his Jihlava companion, Jindřich Boška. The colour impression, dotting – in this case surrounding the object in the center – has been used by the artist since the 1970s.
As a self-taught artist, František Dörfl has travelled a respectable path in terms of his artistic development. He was connected with the works of Paul Klee and Juan Miró, he continued under leading of Theodor Bechník. As for many artists in our countries, there was a significant moment – meeting with the work of Mikuláš Medek and Vladimír Boudník. Despite figural and landscape motifs, František Dörfl worked his way up to calligraphic compositions and paintings based on the principle of corrected chance in the 1960s. He composed the prints of found industrial prefabricated parts in graphic sheets, created coloured objects, sculptures. In the early 1960s, he also met the theorist Arsén Pohribný. In 1967 he co-founded the Club of Concrete Artists. The first domestic exhibition of the club, which brought together mainly artists dealing with geometric abstraction in the then Czechoslovakia, took place in the Jihlava gallery. František Dörfl and Jindřich Boška also took part.
"Creation is like a chain reaction," notes František Dörfl. Given that the name "Chain Reaction" has also provided its cycles since the 1960s – and if we accept that the titles of works can give the key to the principle of their origin – chaining interactions during creation can be synonymous with organic "construction" of the image. The creative explosion, ignited by Dörfl's genius, could perhaps be described in other words as a richly branched chain reaction of various techniques and procedures, organically springing from each other.