Ivo Přeček was a key Czech photographer of the second half of the 20th century. He was a founding member of member of DOFO (1959-75), the now legendary group of photographers from the Olomouc and Brno region. Přeček’s experimental techniques, including the photogram and photomontage, aligned with DOFO’s main focus on abstract and absurdist photography, in sympathy with a current in Czech art of the 1960s. Members were Milan Dobeš (*1929), Jiří Gregorek (*1929), Antonin Gribovský (1933–1989), Jan Hajn (1923–2006), Jaromìr Kohoutek (1905–1976), Rupert Kytka (1910–1993), Slavoj Kovarik (1923–2003), Zdenek Matlocha (*1931), Ivo Přeček, Vincent Přeček (*1930), Vilém Reichmann (1908–1991), Sapara Vojtěch (1923-2004) and Jaroslav Vavra (1920–1981). Painter Vaclav Zykmund (1914–1984) from 1958–62 collaborated with the photographers in the role of advisor and theorist. Přeček was trained as a metal turner and until 1968, he worked as a fitter in a tool-making workshop, and from then until 1985 primarily as a turner in a technical development workshop where soon came to know the photographers Antonín Gribovský and Jan Hajn, who also worked there in manual jobs. He did not become professional photographer till 1985 but had pursued photography since 1958 before joining the DOFO group. As well as traditional, unmodified photography, in the 1960s he increasingly began to take an interest in experimentation. He created photographic compositions from collages, used the sandwich method (of which Cages is an example) and worked with multiple exposures. Přeček’s prolific photographic work earned appreciation and support from prominent theorist of Czech Surrealism, Václav Zykmund. It is in the monotonous surrounds of Náměšť na Hané, a market town in the Olomouc Region that Přeček made some of his most intriguing series. In the 1970s, pure photography began gradually to dominate his work. undefined

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