Sculpture Line Dolní Břežany

In recent years, the theme of the tree, which I perceive as a symbol, a link between heaven and earth, has often appeared in my work. Like all faiths, its roots are hidden deep and firm in the earth, but its crown touches the heavens. It is a fundamental archetype in many of the world's mythologies, religious and philosophical traditions. It combines all four elements and the cycle of life. I use multiple morphologies and approaches when working with this symbol. In the object TREE IN THE BOX, for which it was a majorinspiration from a visit to Schonbrunn in Vienna, it is a disturbance and radical intervention into a perfect beautiful natural form, where humans forcibly modify wild nature in their own image and suppress its essential nature. The objects URBANTREE I and II were created in 2017 as a loose continuation of the great realization Tree of Knowledge. These are idealized, transformed treetops, nature that man, consciously or unconsciously, beautifies to his own imagination and needs, often at the cost of denying its own original meaning. A moment when human urbanism has almost triumphed over organic matter. My goal was to create an object in an ideal scale to the human figure. Although the spatially very bulky object URBANTREE I. occupies a large space, at first glance it looks rather subtly like a drawing in space, captured in the moment. As the lighting conditions change, so does the shadow under the sculpture, creating ever new sketches and patterns in the surroundings. It is essential how the sculpture as a whole works, but it must also work from the immediate vicinity; the essence of art and mastered craft is in the detail. The biggest challenge was figuring out how to cast a sculpture of this size, how to make it, how to realize the wax model, how to make the sprue system, in what segments and at what temperature to distort the crystalline lattice in the aluminum castings so that they could be bent, welded together, shaped, sanded and finally made into a tree crown.  

A sculpture of the Large Yellow Octopus was created for no particular reason, for the pure joy of nonsense, in spite of probability; for the belief that large yellow octopuses exist; if only because they should exist.

In my work I reflect on being, on man and his role in this world. Man, a would-be social being, used to not being alone ? We are alone in our being, alone in ourselves and with ourselves, alone with our world view, one optimistic, the other pessimistic, the same or similar in appearance, differentin opinion, together in the physical world but not meeting in the inner one.....

Pieces of art have been commonplace in parks and gardens since anyone can remember. They may be a discreet accessory, an extravagant jewel, a guide or a centrepiece of the garden's design – and the main reason for its existence. An art piece and its placement in the garden can have a deeply personal meaning, or it can be the result of a meticulously focused architectural intent. The creations of Alexandra Koláčková are immediately recognizable and her style unmistakable. And yet despite this – or maybe precisely because of this – they set the narration line of the area in motion in so many different ways... They serve as a decorative piece or a climbing frame; they can be the centre of the universe or a tiny surprise hiding under the bench... And that is why I personally value Alexandra's work so much.  Most gardens are not meant to be just observed, but rather used in active ways – their space waiting to be touched, sat on, jogged through... Everything is permitted – even welcome. The same applies to Alexandra Koláčková's sculptures. Their simple, rounded and approachable shapes as well as their larger than life size outright beg to be climbed on. This has a tremendous benefit for a garden architect like me. A garden, with everything in it, should be inviting, welcoming and open to visitors – it should encourage exploration and discovery. In case of Alexandra's sculptures, this is often literally the case, with hands or even whole bodies inviting visitors to sit, lie or rest on them. Whatever they want and whatever they can think of, be it children, their parents or their imagination.  Kateřina Pospíšilová, garden architect

Coloured glazed ceramics on a reinforced concrete shell. This is a new approach to street furniture. An unconventionally conceived utility sculpture is an inspiration for both architects and city councillors. A ceramic chair does not look dull and it is not a serial product, either. Thanks to its rounded shapes it is playful and original, and rightfully attracts the attention of passers-by.

“I created the sculpture called “Corpus Angelicus“ as a part of an exhibition of the same name which I had at Prague Castle in 1997. An angel is a constant theme for me, this mysterious being is actually present in all religions. It is a sort of a positive, ecumenical symbol and I am enticed to shape it and give it various forms and constantly retransform it. An angel has probably never been seen before but we may believe that it exists in some form and this always stirs my imagination. That is why “Corpus Angelicus“, a sculpture made of robust cast steel, in contrast to the notion of a totally unknown and elusive ethereal being. A sort of shell of the Angel, it can be understood like this. But I leave it to the viewer. I am glad that the object be installed in Břežany near the monastery and I hope that it will give joy to the citizens and maybe also a reason to pause and think.”

The author focused on the space and size of the object in space. A scale chosen for Hyena allows the viewer to perceive the object as a whole, and, at the same time, at a closer look the viewer is forcedto perceive individual segments and parts of the sculpture. Its openness offers insight into the interiorof the object. The sculpture tries to capture the ferocity of hyenas as accurately as possible with metal. An organic form of a living hyena is transferred into a geometric form of the sculpture while enlarging the animal’s proportions. Complex structures that create individual parts of the animal’s body are gradually composed of the 2D parts. The resulting sculpture takes advantage of the distribution of light and shade on metal surfaces, and using its nuances it creates the overall spatial volume.