Sculpture Line
Prague 2017

The work exhibits “the relationship of complete, exterior forms to their internal formal construction.In Mixed Feelings the apparent complexity of additive and subtractive forms is the result of a more complex interplay between two geometric figures whose complexity ascends the banal andtakes on anemotive quality.”

The statue comes from the Self-Portrait Transformation cycle. It is a profile line of my face which I amnot afraid to deform, rotate and thus create a new view of my appearance. The name of the sculptureis Two because every man in the world tries to find himself and most often finds himself and can communicate with himself when seeing own appearance in the mirror. That is why I create mirror images of myself: to find myself through art and make it possible for others to go through this journey, to think and find themselves in this fast-paced time.

The Great Missionary is an expressive encounter of natural, human and technical space. In terms of form, it is a sculptural and stylized body of a helicopter with a flagellate and vividly moving tail, showing a bearer of information. The statue is a reference to missions, whether military or civil, aboutwhich we do not even know yet whether they bring a threat or rescue. The sculpture is also a place of both conflict and merge of the principles representing the origin and end of life - of their mutual interconnection. The active space of the sculpture is a land – the target, as the ancient origin, into which a human being, bringing enlivening, settlement, but also disturbance, is implanted. The sculpture can symbolize the forces that transform the living space and this is achieved mainly by internal tension based on the use of parallels and contrasts between technical and organic morphology.

„Euphoria“ is a gentle symbol of the closest connection between a woman and a child (between meand my daughters) as well as the symbol of being on the same wavelength of shared well-being. It isa capture of a brief, passing, but intense learning of new life. It is displayed using a visual and sculpturespecific airy form of spatial drawing.

The statue of the Rector was originally exhibited in the public space within the cycle “Olbram Zoubek:Pedagogové a studenti / Lidé” (Teachers and Students / People) (Ostrava, 2002).

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

The origin of this artwork is an intuition. The sculpture reveals the polarities caused by a human being and his desire. It illustrates the dilemma and balancing act of conscious existence. Enlarged and modified hand tools interfere with common perception and create symbols for transition from an industrial to digital era. Avarice is a critical review of the greed of our commercial being.

Joseph Beuys, the legendary German artist and theorist who has already died, once wrapped a real grand piano in felt and painted a red cross on it. Antonín Kašpar created a total of 14 steel pianos, from which the crosses rise from the top board askew to the sky. They might be receiving or transmitting signals from or to the cosmos; or maybe both at the same time. When the author later visited a gallery in Frankfurt where he saw the original Beuys’ work, he decided to name his own work the Tribute to JB.

The author’s intention was “to create a woman as a Woman, a girl like a Girl, a boy like a Boy anda man like a Man. The statues speak for themselves."

By giving mysterious names, Kovářík leaves the viewer in doubt what the matter actually is. He doesnot like “typecasting”; he rather leaves room for your fantasy and experience. The sculpture is another part of as-yet-unfinished project. It is based on the knowledge of biomorphic shapes as if born from the swirling micro space of the Petri dish. Nothing is impossible and everything is seemingly allowed, but still within the strict limits of classical sculpture and rules of interior structure, form and proportions.

The Rugged Stand combines Skála’s art language with the idea of social intervention. It is to serve as a meeting point, a centre of unexpected interactions, a space of refreshments both physical and spiritual. Compared to city kiosks and newsstands, it is not an industrialized shop, but an organicallyhandicrafted object. The Rugged Stand brings wilderness and the flamboyant architecture to the tourist plantation of the Lesser Town. It refers to other values than purely pragmatic ones.

The sculpture is formulated from a primary round geometric shape, that’s why the name Rounded was chosen. A determining principle of the sculpture is the shape and actual dimension of a circle that appears not only in the resulting shape of the object, but also in its individual components. The sculpture is formed by joining individual parts (carved according to the radius identical to the radius of the resulting object) which form the resulting shape of a growing circle. The overall spatial composition of the work refers to principal mathematical shapes. The purely intuitive composition of individual parts, without using a model, is reflected in an unrestrained, growing and gradually formingwhole and this is an unfinished circle. Interruption of a central curve – or perhaps its controlled incompleteness – adds dynamics to the overall impression of the shape of the sculpture.

A piece of work from the Drawing in Space (Kresby v prostoru) cycle. The Stumps in the Dark areinspired by children‘s play – waving with a burning stump taken out of the fire. It is an attempt torecord and transfer the movement of a hot stump in the dark into a material.

Chairs for the city is a series of bright ceramic sofas and chairs installed in busy city streets for permanent or temporary periods of time. Stop for a moment at a random location in the street, sit down, touch the shiny smooth shapes, feel and enjoy the colours. Nestle down for a while and look around you or close your eyes and listen to the sounds of the street. Allow yourself to be present inthe moment.

I have portrayed the hand in a life-size and in a simple gesture of preparing for the action of flicking off something that is not displayed here on purpose. The viewer is provoked by the very absence of the subject of the play. The sculpture should spark the observer’s imagination.

The Urbantree objects follow the successful Urbanut series and formally build on a four-meter realization of the Tree of Knowledge (Strom poznání) in 2016. The sculptures are made of fragmentsof real trees that are transformed and slightly changed by force and pressure, but still archetypally readable on closer inspection. The treetops are transformed and adapted into a human scale and placed in the town (urban) environment.

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.