Juraj Toman (1985) systematically works with the theme of the city in his work. This choice is naturally conditioned by the artist’s spontaneous decision to paint what is in close proximity to him. The living space of contemporary man is, after all, mostly made by his residence in the city. It is not, however, the city in its living, daytime form, but on the contrary, it is an environment that is night-veiled and covered in a kind of indescribable mystery. The nocturnal situations that the author describes may even give some of us a feeling of uncertainty, fear and the expectation that something surprising is about to happen. But in reality, nothing happens. The space remains empty and the people in the paintings are still standing in the same position. However, it is this very static quality that allows us to perceive the artist’s works from a different point of view. After a few moments of observation, the possibilities open up to dive deeper into the painting. Into its atmosphere and to focus one’s gaze on the personal and refined colouring. One that we doubt whether it is a real imitation that the artist actually saw or his fictional fantasy that reflects his feelings and moods. But more importantly, this uncertainty creates the possibility of feeling one’s own emotions. Through the artist’s honest account of place, the possibility is thus offered to read Toman’s paintings as a renewal of feelings towards a lived reality. It draws attention to one’s relationship to the place one is in.