The first dart, an American trout, Icy water and warm air about. Call out, tongue, wild rapids roar. An aluminum mess tin, stones of granite ore. Treasures, matches from a wooden box. Breakfast in rubber boots, throwing skipping rocks. Painted signs mark routes and tiny ways. I return to the places of my younger days. Smoke drifts from the boiler room, the smell of home, Sports papers, sharp the axe I roam. Laminate, epoxy, wax that's hot, Grandma's pancakes and fresh sweet must. The hours are silent, slides click, the projector runs, Iron crosses, cottages, views to the sun. Jumps into drifts from Grandpa’s garage door. I'll do everything we’re forbidden for. Peter Fabo: Shards (WEST POINT Series) The exhibition spaces of the burgrave’s residence at Klenová are transformed under the hands of visual artist Peter Fabo (*1983, Sušice) into a place where photography ceases to be mere representation and becomes a physical event. A graduate and current lecturer at UMPRUM, Fabo does not seek romanticized Šumava scenery in his project Shards; instead, he returns to his roots through personal memory and material experience. The overall tone of the installation is shaped by an accompanying poem. Melancholic yet matter-of-fact, it functions as a sensory map of memories from a childhood spent among granite boulders, warm summer air, and the icy waters of Šumava streams. It is precisely from these streams that the artist retrieved the “shards” — weathered fragments of the region’s centuries-old glassmaking tradition. These remnants, whose sharp edges have been softened by time and flowing water, become for Fabo a perfect metaphor for the mechanism of remembering: pure essences of lived reality. Throughout his work, Fabo consistently abandons the role of the detached observer. In the technique of the photogram — or, as the artist himself jokingly calls it, the “fabogram” — he focuses on the very birth of the visual record. He experiments by placing objects directly onto the light-sensitive surface of photographic paper, creating unrepeatable compositions. At this point, he radically disrupts the essence of photography as a medium intended for reproduction. Each photogram is a direct, physical encounter between light and matter, existing only as a singular original.