2021–2015

CELEBRATION OF INSIGNIFICANCE

2021

130×80×20 cm

porcelain, plywood

photo by tomáš brabec

180×120×25 cm

porcelain, metal frame, wood

photo by tomáš brabec

160×180×23 cm

porcelain, metal frame, wood

photo by tomáš brabec

130×80×50 cm

porcelain, wood

photo by tomáš brabec

130×190×25 cm

porcelain, metal frame, wood

photo by tomáš brabec

VAN DER LINDEN/PELECHOVÁ

2020

QUALITY OF MISSING

2019

aprox. 50×50×50 cm

terracota, white clay, glaze, soda, pigments, silica sand 980 °C

1. In case we miss something that was close to us, something we know, something we have taken for granted, we will replace it with the same. If we fail to find that, we will try to replace it with the most similar object possible. Using a simple projection technique, we assign to the "subject" the properties and quality of the original, the missing. We will then demand our expectations from the "subject". If the "missing" is a situation, we will use the necessary number of "subjects" to stage the situation. As a result, a medium-deep feeling of emptiness should appear…

2. If we desire something we know from our surroundings, we will try to imitate the situations that evoke the desired feelings. If we fail to evoke the constellation naturally, we will try to imitate the "subjects" that are formative for them in a more suitable way. The denial of the illusion of one's own personality, its loss and imitation of the characteristics of another subject in order to illustrate the idea of happiness are also highly functional…

3. In case we lack something we can't name, we will name all available "subjects" from our surroundings and by combining them, we will try to evoke an unnameable feeling. If we waste all possible combinations and the unnamed does not materialize, we will name unavailable "subjects" from our surroundings, after verifying possible combinations and their malfunctioning we will try to name all "subjects" not yet known, and this may take some time…

A FULLY FILLED CRYSTAL LATTICE

2018

50×60×70 cm

18 kg

shamot clay, diturvit, silica sand, glass melt

photo by tomáš brabec

Crystal lattice is a set of certain imaginary abstract points that describe structures of a crystal, or in other words, the relative position of particles in a crystal. A fully filled crystal lattice is an ideal state, but is unrealistic in the real world, where crystals have lattice defects.

The discovery of quasicrystals in 1992 led the International Crystallographic Union to change the definition of a crystal. Instead of the traditional definition of a crystal as a periodic structure, the new definition reads as follows: A crystal is any solid whose diffraction pattern is a dot. The new definition also brings with it new symmetries with local reach, the so-called non-crystallographic symmetries.

FRESH LETTERS

2018

70×90×20 cm

14 kg

porcelain cast into mould, silica sand, frits

photo by tomáš brabec

It is like writing letters to someone I don't know, it is my existence, what is filling and fulfilling. Encouraging but not so decisive is the possible existence of someone else to whom my existence will also seem necessary – an indispensable and the vast area open for projection, we will enjoy it…

UNSTABILE ASSOCIATIONS

2018

70×30×50 cm

38 kg

burel clay, silicate sand, glass melt

photo by tomáš brabec

Visual memory as well as remembrance of smell or tactical experience, may recall many things once we meet something similar to the previous experience. I think the complete process is connected with a creative memory over all. The way we want to remember and present the history the way we want to be seen and perceived now at this moment the imaginary image of us in the near and far future. There are no borders between the time frames, there is straight connection and a straight influence, one would not exist without the others. I think that this „theory“ this feeling of viscous consistence is applicable at the personal and collective memory as well. Again there are no borders no clear terminology especially in the areas with complicated history, there is just fragmentary memory of the future of me of you of us.

OBJECTIVE POINT OF VIEW

2018

50×70×70 cm

46 kg

shamot clay, diturvit, silicate sand, glass melt

photo by tomáš brabec

SOULLAKE CITY

2018

70×50×50 cm

47 kg

shamot clay, silicate sand, glass melt, mangan, cobalt

photo by tomáš brabec

EVERYDAY ARCHEOLOGY

2018

125×270×30 cm

59 kg

porcelain cast into mould

photo by tomáš brabec

To start with, we must unify material, language and type of coding we are to communicate about and by, then we demark the initial area and then the boundaries within which we will operate, then relations, positions, deduce the lower number from the higher and then compare the difference to something else, define the value with the help of another pre-defined value, which is constantly and pointlessly discussed, then we need to find out what we are looking for, parallels and details, or diversity rather, we long for the result, or name the possibilities, look for harmony, or maybe want to go through the full scale of what is possible, or even to list out the complete alphabet of the impossible, this time we start from the end and that amuses us… and then we sit down at the table and I will cut the onion…

SUGAR HONEY DARLING

2017

70×30×50 cm

60 kg

earthenware, silicate sand, glass melt

photo by tomáš brabec

6% HUMIDITY, 32 TONS

2017

70×30×50 cm

20 kg

silicon carbide, glaze, colouring agent

photo by tomáš brabec

DIE GESCHWOLENE SCHÖNHEIT

2017

50×50×60 cm

31 kg

porcelain, glaze, silicate sand

photo by tomáš brabec

…and how do you feel about Africa, the locals kept asking me over and over again. This pressure put on my abstract impression, in addition to the necessity to verbally express myself started to generate a parallel universe created out of pure satisfaction of demands, and in the end persuaded my poor receptors to absorbing the expected clichés. Paradise lost, yes, indeed, paradise lost it is! A wild country, with randomly appearing human attempt to reign it, or residue of such an attempt. It is exactly the temporal uncertainly that is the most intense perception; in many cases it is not clear whether one is witnessing the beginning or the end of a story. Orchards with fruit trees planted in carefully measured distances from each other, just to be covered by surrounding vegetation. Blacks in slums, inhibiting endless planes, squashed together in a country whose vast areas are uninhabited; such an agonising tumour of organic architecture growing out of the debris of the town it parasites on. A representative of the white race desperately attempting to escape the civilisation only to find oneself in a place longing for it. The type of country we know, but in a different ratio, a fundamentally different ratio, and sunrays coming through the leaves of those abandoned, never discovered orchards, looking like they are coming from medieval woodcuts…

JANUARY 2748

2017

10×30×15 cm

5 kg

silicon carbide, porcelain, glaze, earthenware

photo by tomáš brabec

NEXT EX

2017

30×80×50 cm

34 kg

silicon carbide, glaze, earthenware

photo by tomáš brabec

THE WHOLE HEAVEN

2017

60×20×40 cm

16 kg

silicon carbide, porcelain, glaze, colouring agent

photo by tomáš brabec

COFFEE LEAVES

2017

120×30×50 cm

21 kg

porcelain, glass melt, earthenware

photo by tomáš brabec

V – 21812911

2016

á 40×40×40 cm

ceramic glaze (diturvit) cast into plaster mould

photo by tomáš brabec

NC 000003

2016

75×40×40 cm

ceramic glaze (diturvit) cast into mould

photo by UPM, gabriel urbánek

…the ability to see lost paradise behind every story very likely comes from my first home in the last block of flats in a housing estate built in haste for employees of a nuclear plant. The houses were built but the place was lacking infrastructure. Paradoxically, there was abundance of building materials the engineers of the future did not manage to tidy up after themselves. Precast concrete with fittings sticking out, a small scale of colossal system of unsustainability, were lying around in the fields around the block of flats in this empty space with no history of its own…

THE LOST WIND

2015

150×120×80 cm

wooden pallets, plaster moulds, carpenter clamps

TWENTYSIX SUN RAYS

2015

150 x 150 x 90 cm

wooden pallets, plaster moulds, carpenter clamps

…I began building blocks out of randomly found pieces of plaster into compositions, starting on axis X and Y and filling in the random cavities by porcelain, then I further built and rebuilt, framed and reframed them, and from horizontals I reached the cosmic axes π and β, and then kept breaking and cutting and again layering the poor shapes until they only remained visible on the verticals that were barely showing, fragments of lines of the spiritual unconsciousness…

VG 12565 IV

2015

30×50×30 cm

ceramic glaze (diturvit) cast into mould

photo by tomáš brabec

VG 12565 III

2015

30×50×30 cm

ceramic glaze (diturvit) cast into mould

photo by tomáš brabec

VG 12565 II

2015

70×50×50 cm

ceramic glaze (diturvit) cast into mould

photo by tomáš brabec

…the first thing that hit me in the face after I arrived in Gmunden was the window view from my room number 33. The hotel building was standing between a beautiful crystal clear lake and right above the waterfall this scenery was nicely set into a frame of a mountain range foothill - one could enjoy the sight of it on the way to the hotel through the medieval town. As I opened the window curtains in my room, wanting to take a deep breath of the timelessness that was to last for another month, I found myself looking into a wall, standing only about 1.5 metres away from my window. From behind the wall I could see only the very tip of a gothic church roof, which was jeering at me, and the tip of the mountain behind it, appearing sporadically from the mist. It was clear to me right away that all this, and mainly this urban mischief, is an unflattering picture of my subconsciousness…