2009   I   ceramic,  clay   I   8 piece  141x36x23 cm


2009   I   ceramic, paper   I   various size

The mental background of my work is based on that for me non-understandable and non-acceptable question, that how can people accomplish violent acts on other individums. How should people approach to those non-definable, non-identifiable voices or burrs that can be heard day by day if one is forced to grow up and live in a block of flats. Being isolated but even though living together with the neighbours.

Basically I intended to process the general coherence of the topic and I also let space for the more comprehensive interpretation but even though my attention was attracted to the non-solvable contrary when the violent act happens within the family. The visual signs of bodily, physical violence can be appreciable and defined for the outside. I have taken this inchoation of visual traces as a basis in my work and I attempted to understand via experiencing causing injuries being readable from signs. This part of my thesis takes a shape of a private action and which one’s ’products’ become the elements of my installation. It's important, that the elements of the work are direct moldings. In the aspect of experiencing I wanted to re-enact such a situation which stands the closest to the real, the attitudes of the real body. I wanted to finger to a ready, sterile, raw surface which carries purely the signs of effeminacy on itself. The body shows a static, calm status not a rebellious, fighting movement. The bust is only serves as a basic material. I define the form taken out of the negative as a ready-made product, I immure myself of any aestatisation of it, I do not retouch it, I do not paint it, I leave it in its own raw reality, this way I can directly get at hand the same surface as the real one.I take it unacceptable that people or moldings created of them are deformed, injured, humbled. That is why it was evident for me to work with the negative taken from my own body. Nevertheless I do not leave such sign which would make the owner of the body obvious. The body can be interpretated in a more common way, as an archetype of woman.

This is not a torso, not a broken or erupted part of a whole, not a random riven away detail. It is a consciously relieved part, like criminal photos, which focus only on the relevant parts in the aspect of composing. The work is the fixation of the moment of such a physical effect that can be withheld, veneered, because it regenerates according to the physical attitudes of the body. In a real situation this plastic exists only until the clench lasts but still cannot be seen as it is hidden. The plastic created by me – the imprint of the hand – beyond the physical and spiritual injuries refers even to the assaulting party, he/she quasi also appears. The imprint does not contain any sign which would refer to the fact that the owner is a man.The topic arises a lot of feelings in everybody, in some people it stirs passion. It has an effect on that one, who suffers it, who look on it, who knows it only by hearings and of course even on the perpetrator. My work shocks and confronts the audience with violence and moral dilemmas. How do we conceive of a tabu topic being forced to a some kind of stance. The symbolic target of my action is experiencing and understanding. The experiencing the concrete physical act and the understanding of the reasons for causing injuries by this. I experience clench, strangling as a destroyer act by my own clay stand-in with a constantly repeated action being aware of the fact that this is a never-ending, Sisyphean task which would not render any satisfying answer to me. My work does not lead to any target or answer, its existence is the device of raising attention, demolishing tabu topics and flashing on problems.