I oscillate around sculpturing expression all the time, for myself feeling the need to approach this pure and clean phenomenon. Similar to other forms of fine arts as they come about nowadays, including the blurred boundaries between them (some call them permeable confines), sculpture, too, does not require any special treatment, any protection from “loss of value”. The feeling which I have now and then, urging me to redefine and once again resharpen the boundaries of the field I am dealing with, probably stems from the tornado that swept through the world of sculpture, formerly established as one of the pillars of fine arts, mainly in the past century most of all. The paradigm may have changed; the change in the essence of a sculpture has most probably not, however.
I am an author of visually ambivalent objects – sometimes, it is an organic sculpture, another time, it may be a conceptual installation. However, I believe that this never fully and precisely defines or classifies the things that I do. This is of no importance, though. They are my advance sensors, haptic objects which inspect and feel the limits of my body, of my space, of this multiple barrier present within me and outside of me. I am passionate about knowing what it looks like outside, both within me and off me. Anyway, this clear vision which I have from time to time, becomes speedily as disordered and chaotic as everything which has whizzed around me so far, as everything I do, how I feel. These are logical parts of the chaos. Of my chaos.
My work consists of parallel, seemingly disparate lines, which collide one with another and complement each other. Despite first sight, everything faces the certain defining of my sculpture form. I compose the space and the space forms me, myself. The seeming serenity of one form is the exact print of the Dionysian pole of another form. The viewer himself is forced to find a relation to the presented shape-realization, as I myself must find. I see things clearly only after I have articulated them.
I use ordinary materials, not special in any way, clearly categorized from our everyday point of view. I touch them, form them, and insert them into clear and common relations, proportions, stories which turn grey as soon as I leave them. Indolent communicators, objects waiting to be touched.
I keep on assuring myself that it is I who is touching.
born 11. ledna 1966 in Prague
1991 Academy of Fine Arts Karlsruhe (Germany) - studio of Otto Herbert Hajek
1993 - lecturer in sculpture studio II. Academy of Fine Arts in Prague
2014 Formátování/Formatting DUM gallery / Benedictine abbey st.Venceslav - Broumov / Czech republic /
2011 Drobná práce//Small-scale everyday work - with E.Dolejsi - gallery Jelení Praha
2010 Dvojitý agent/Double agent - (with J. Petrbok) gallery Cesar, kurátor Petr Vanous Olomouc
2010 Ztížená možnost soustředění /The Increased Difficulty of Concentration, Municipal gallery Sokolská 26 Ostrava, kurátor Milan Weber Ostrava
2010 Lipavsky/ Mica Obvyklí pritomní/Habitually present Municipal gallery/Dům umění města Brna - gallery G99 Brno
2009 Sochy do barokní niky/statues in the baroque niche (D.Pesta) bývalá jezuitská kolej Klatovy
2004-05 Kruhový objezd/Rotary gallery Kai de Kai Praha
2001 INNOCENTI URBAN WEAR (J.Petrbok) gallery Univerzal NoD Praha
1995 SKYLLAS STRAIT gallery AVU (I.Juzova) Praha
1994 gallery U PRSTENU Praha
2011 Fundamenty a sedimenty - Municipal gallery GHMP Praha Praha
2011 Artbanka - MOYA Praha Praha
2009 Sculpture by the sea 2009 - Sydney Australia
2009 Sculpture inside - Sydney Australia
2008 Artphone 2008 - Prazská kampa Praha
2008 Nic na odiv 2008 – Praha , Kateřinská zahrada Praha
2008 Seník 2008, farma Hlubocec Hlubocec
2008 Brno Art open 2008 – sochy v ulicích (with J.Petrbok) Brno
2008 @IKON New brave world - Praha Mánes Cz
2007 AVU Praha - Veletržní palác NG Praha Cz
2007 Lustro Natury Arsenal Wroclaw Poland
2006 studio of Aleš Veselý - Opava municipal gallery Czech r.
2006 Sculpture grande / Prague /Něžné prefabrikáty- with J.Petrbokem,P.Vanousem Cz
2005 Socha a objekt X. Bratislava Slovakia
2005 Nic na odiv - Kateřinky Praha Czech r.
2005 Klenová, Contact - symposium vysokých uměleckých škol
2004 Wortnerův dům, AJG, Škola monument. tvorby prof. A. Veselého, Č. Budějovice
2004 Nic na odiv - Kateřinky Prague Czech rep.
2004 Lauenstein Germany
2002 Klement/Au Austria Austria
2001 Neue Anfänge – Brémy Ger.
Markneukirchen – dřevo (Německo) Ger.
1999 Neplánované spojení - Praha Mánes Cz.
1998 SCULPTURE SPACE - Utica NY USA
1996 SVÁROV 96, Svárov, Cz.
1995 - 96 SAMETTIVALLANKUMOUKSEN JALKEEN Oulu, Helsinki Finland
1994 AVU a UMPRUM, Kunstmuzeum Dusseldorf Germany
1993 POST SECURITY, Gallery 5020 Salzburg Austria
ATELIÉR H. Demartiniho, gallery Médium Bratislava Slovakia
G -SELECTION, Dom Umenia Bratislava Slovakia
BUDAPEST GALERIA, Budapest Hungary
1992 GERMINATIONS 7, European biennale of young artists,
National Centrum for Contemporary art - MAGASIN Grenoble France
KONTAKTE-KONTAKTY 92, Kunstmuzeum Regensburg Germany
1991 STIPENDIATEN von Daimler-Benz, Karlsruhe Germany
SETKÁNÍ, Černínský palác Prague Czechoslo.
ERBE UND ZUKUNFT, symposium sculpture in Ellwangen Germany
1990 ART HAMBURG, Germany
AVU,with students Academy of Fine Arts Wien Austria
1990 ART PARTY, Národní třída Prague Czechoslo.
1989 KONFRONTACE Svárov Czechoslo.
SCHOLARSHIP, RESIDENCIES, Prizes
2004 UCLM, Faculty of Fine Arts, Cuenca, Spain
2003 competition - memorial of III. resistance Prague 3th.prize Prague
2003 Academy of Fine Arts, HAGUE Holand
1996 Stipendium J. a M. Jelínek, Switzerland
1998 Rheinland-Pfalz Stipendien Germany
1998 Sculpture space - Utica NY USA
1995 Artslink Residencies - Cleveland Institute of Art, Ohio USA
1992 Germinations 7, European biennale of young artists, Grenoble, workshop in Grenoble,
Belgium stipendium, France
1991 Stipendien DAIMLER-BENZ Karlsruhe studio O.H.Hajek Germany
1991 SWISS research Zurich Switzerland
1990 ITALY research Perugia Italy
1992 prize of European biennale of young artists Grenoble, with Imrová, Ondák, Jůzová France