The paintings of Daniel Pitín are firmly holding on to the eternal distinction between light and darkness. Light, dispersed from an invisible and ungraspable source focuses on the surface of the canvas, piercing through it and finding its way around and reflecting through numerous forms folded into the composition of the image somewhere between architecture, scenography and a vivid inner space. The play of light and darkness is thus the key element of formation of the space, its moods and variability seemingly frozen in the static image on the canvas, yet still breathing with fresh inputs coming from its extraneous environment and ocular abilities of its viewers. The given matter, building blocks of the content stays in the constant flux of transfiguration, with shades of approaching light, through the light, as light itself. Pitín is thus touching field of prefigurations of his work, its main referential points in Czech avant-garde photography of František Drtikol, Jaromir Funke or Josef Sudek, in tradition of cubist painting and even deeper in history, as in baroque paintings through the technique of chiaroscuro, based on strong distinctions between tonal variations, therefore conceiving a dramatic, almost theatrical visual feeling.