PLYNUTÍ / FLOWING
Galerie 140, Tábor, 2018
DO TICHA / INTO SILENCE
Muzeum umění a designu v Benešově , 2013
Projekt sestavený z tvorby z let 2012 a 2013.
Kurátorka Lucie Šiklová.
Do ticha
Into silence
An imprint is an encounter with something that is no longer there, in this world, at this time, in this body. The imprint is a silent witness to the energy that was there. The imprint is a reminder of eternity.
The touch with eternity and the dematerialized physicality that accompany the imprint are exciting and attract "their" artist.
It is therefore not surprising that the imprint has become independent in the visual arts and it is necessary to understand it not in the sense of the author's invention of a particular creator, but as a universal technique for kindred spirits with a sensitive setting to themselves and to the surrounding world. With imprint as a form of expression, Eva Kmentová and Adriena Šimotová are still the most associated in our country. From the young generation of sculptors, it is Josefína Dušková who has been dealing with imprint in her work for a long time and finds in it a pure and convincing expression. In his sculptures and objects, he returns to fundamental themes. The first is birth. From the initial figural reliefs with the motif of a human embryo, she came to a symbolic and often already abstract expression. It is attracted by volatile materials such as wax, foam, polystyrene, cotton wool, pigments, gypsum, and even ice or snow. Through them, the awareness of the omnipresent, but today emphatically suppressed transience and finality of life is acquired. The fragile cavities of shells, shells, beds and nests are one step further transformed into space. The next possible step is just emptiness. Growth and birth are thus seamlessly linked to the second fundamental theme of disappearance and transience. Love and life belong together as well as love and death, and tender Eros inevitably meets Thanat. The thin shells of objects, surrounding and defining their space with fragile material, are subjected to spontaneous disintegration and, ultimately, to destructive intervention from the outside. But the destruction in its presentation, while leaving no doubt that it is really about extinction, is not suffocating or threatening. By melting polystyrene under a stream of hot air, new realities arise, new shapes and new spaces arise from the white plane of the polystyrene plate and collapse. Life emerges from the void and leaves in the void, the cycle of earthly birth and death repeats into eternity. The human body, temporarily enveloping "its" piece of the universe, allows it to meet, merge with the other, and finally gives this temporary private space a soothing merging back into the universe.
Into silence.
The latest cycle of imprints from a purely lyrical position turns in a slightly different direction. It keeps its manuscript, it is still based on the close link of material and form to the content message. The fragility, both factual and symbolic, persists, but expressively it is more urgent, playing out a quiet relationship drama. The less she calms this time, the more she is present:,, These imprints - relationship imprints - are personal and intimate to me.
Inspiration is people's relationships and their closeness or distance, based on their own experiences; from looking to the past and heading into the future. They are primarily about the relationship and its duration, sharing, transformations, being together, side by side, direction and passing.
/Lucie Šiklová/
KŘEHKOSTI / FRAGILITIES
U Kunštátů, Praha, 2012
OTISKY ZE MĚ /
IMPRINTS OF EARTH
Josefína Dušková, Monika Holečková
Česká Lípa, Galerie Jídelna, 2012
