{"id":4696,"date":"2021-10-15T17:15:38","date_gmt":"2021-10-15T16:15:38","guid":{"rendered":"http:\/\/www.artinbox.cz\/?page_id=4696"},"modified":"2021-10-18T14:11:05","modified_gmt":"2021-10-18T13:11:05","slug":"dominika-slavicka-1993","status":"publish","type":"page","link":"https:\/\/www.artinbox.cz\/?page_id=4696","title":{"rendered":"Dominika Slavick\u00e1 (* 1993)"},"content":{"rendered":"
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Zab\u00fdv\u00e1 se prim\u00e1rn\u011b kresbou a grafick\u00fdmi technikami, v\u011bnuje se tak\u00e9 plastice a p\u00ed\u0161e autorsk\u00e9 texty. Kombinace t\u011bchto m\u00e9di\u00ed byla v\u00fdstupem jej\u00ed diplomov\u00e9 pr\u00e1ce, kterou v Artinbox Gallery prezentujeme na samostatn\u00e9 autorsk\u00e9 v\u00fdstav\u011b. <\/strong><\/p>\n\n\n\n

studium: 
2017\u20132020 Grafika 1 (D. Smutn\u00fd) 
2014\u20132017 Grafika 1 (J. Lindovsk\u00fd) <\/p>\n\n\n\n

st\u00e1\u017ee: 
2018 Socha\u0159stv\u00ed 2 (T. Hlavina) 
2017 Grafika 2 (V. Kokolia)<\/p>\n\n\n\n

Dominika Slavick\u00e1 \/ Metamorf\u00f3zou <\/strong>
text: V\u00e1clav H\u00e1jek, z\u00e1\u0159\u00ed 2021<\/em><\/p>\n\n\n\n

V kresb\u00e1ch a grafik\u00e1ch Dominiky Slavick\u00e9 se jemn\u011b a nen\u00e1padn\u011b prot\u00ednaj\u00ed t\u00e9mata p\u0159\u00edrody, t\u011bla a du\u0161e. Tak\u00e9 se zde setk\u00e1vaj\u00ed r\u016fzn\u00e1 v\u00fdtvarn\u00e1 pojet\u00ed, osciluj\u00edc\u00ed mezi pe\u010dliv\u00fdm a pozorn\u00fdm propracov\u00e1n\u00edm detail\u016f, ornament\u00e1ln\u00edm pojet\u00edm a obrysovou sumarizac\u00ed. V bohat\u00e9 tradici zobrazov\u00e1n\u00ed du\u0161e se vyskytoval motiv mot\u00fdla \u010di Psych\u00e9 s mot\u00fdl\u00edmi k\u0159\u00eddly, jej\u00ed\u017e postava b\u00fdvala um\u00edst\u011bna do interi\u00e9ru bujn\u00e9 vegetace. \u017densk\u00e1 figura (n\u011bkdy i bez k\u0159id\u00e9lek) symbolizuj\u00edc\u00ed du\u0161i se nal\u00e9zala v archaick\u00e9 p\u0159\u00edrodn\u00ed n\u00e1ru\u010di, kter\u00e1 je\u0161t\u011b nepro\u0161la \u201ekultivac\u00ed\u201c (od latinsk\u00e9ho slovesa colere, kter\u00e9 znamen\u00e1 prom\u011b\u0148ov\u00e1n\u00ed p\u016fvodn\u00ed p\u0159\u00edrody v polid\u0161t\u011bnou krajinu a jsou od n\u011bj odvozeny term\u00edny kultura i kult). V t\u00e9to neprob\u00e1dan\u00e9 a \u010dlov\u011bkem neprom\u011bn\u011bn\u00e9 p\u0159\u00edrod\u011b sch\u00e1z\u00ed dalek\u00e9 pr\u016fhledy a pr\u016fseky k horizontu, nen\u00ed zde je\u0161t\u011b vymezen \u010di vysek\u00e1n lidsk\u00fd prostor se sv\u00fdm geometrick\u00fdm a hloubkov\u00fdm charakterem. Na tradi\u010dn\u00edch zobrazen\u00edch du\u0161e v p\u0159\u00edrodn\u00ed n\u00e1ru\u010di v\u0161ak chyb\u00ed d\u016fraz na t\u011blesnost figury. Ta se zd\u016fraz\u0148ovala sp\u00ed\u0161e v souvislosti s genderov\u00fdmi stereotypy, z nich\u017e se odvozovalo i propojen\u00ed \u017eeny s vodn\u00edm elementem. N\u011bkdy byly takov\u00e9 stereotypy devalvuj\u00edc\u00ed (obrazy Sir\u00e9n apod.), jindy m\u011bly rozv\u011btven\u00fd symbolick\u00fd potenci\u00e1l (\u201ePramen\u201c od romantick\u00e9ho um\u011blce Philipa Otty Rungeho, na n\u011bm\u017e \u017eena s d\u00edt\u011btem u vodn\u00edho zdroje symbolizuje nov\u00fd po\u010d\u00e1tek, zm\u011bnu, d\u011bjinn\u00fd zvrat atd.). Slavick\u00e1 podtrhuje t\u011blesnou str\u00e1nku obrazov\u00fdch metafor, kdy\u017e se na jej\u00edch kresb\u00e1ch z kl\u00edna \u017eensk\u00e9 figury rod\u00ed nov\u00fd rostlinn\u00fd i zv\u00ed\u0159ec\u00ed \u017eivot. V jej\u00edch d\u00edlech se v\u011bt\u0161inou nevyskytuj\u00ed monument\u00e1ln\u00ed prostorov\u00e9 efekty, c\u00edl\u00ed v\u00edce na p\u0159\u00edrodn\u00ed detail, fragment, interi\u00e9r. Zde lze l\u00e9pe uk\u00e1zat vz\u00e1jemn\u00e9 pror\u016fst\u00e1n\u00ed forem zv\u00ed\u0159ec\u00edch, lidsk\u00fdch i rostlinn\u00fdch. Z tohoto pror\u016fst\u00e1n\u00ed a vz\u00e1jemn\u00fdch vazeb se postupn\u011b rod\u00ed kontinu\u00e1ln\u00ed ornament\u00e1ln\u00ed uspo\u0159\u00e1d\u00e1n\u00ed, v n\u011bm\u017e na sebe jednotliv\u00e9 prvky plynule navazuj\u00ed v pomalu plynouc\u00edm rytmu. Z\u00e1jem o ornament, arabesku apod. bychom sice tak\u00e9 nalezli ji\u017e v tvorb\u011b romantik\u016f (zmi\u0148ovan\u00fd Runge ad.) a v tvorb\u011b dom\u00e1c\u00edch autor\u016f u Josefa M\u00e1nesa, Mikol\u00e1\u0161e Al\u0161e ad. Slavick\u00e1 v\u0161ak tuto tradici revitalizuje a posunuje do p\u0159\u00edtomnosti \u2013 v jej\u00edch d\u00edlech se vyskytuj\u00ed zcela sou\u010dasn\u00e9 relikty jako tenisky, d\u017e\u00edny atd. Prov\u00e1zanost detail\u016f, p\u0159\u00edrodn\u00edho interi\u00e9ru, pror\u016fst\u00e1n\u00ed organick\u00fdch tvar\u016f sugeruje autor\u010dino p\u0159\u00e1n\u00ed vn\u00edmat op\u011bt jednotu, celek, kter\u00fd se v pr\u016fb\u011bhu modern\u00ed epochy kamsi poztr\u00e1cel. Modern\u00ed v\u011bda i spole\u010dnost jsou do zna\u010dn\u00e9 m\u00edry rozt\u0159\u00ed\u0161t\u011bn\u00e9, zam\u011b\u0159en\u00e9 na jednotlivosti, d\u00edl\u010d\u00ed probl\u00e9my, kter\u00e9 se nav\u00edc rychle prom\u011b\u0148uj\u00ed, objevuj\u00ed se a hned miz\u00ed a n\u00e1\u0161 z\u00e1jem o n\u011b p\u0159ipom\u00edn\u00e1 sp\u00ed\u0161e z\u00e1blesky ne\u017e soust\u0159ed\u011bnou pozornost. Slavick\u00e1 se naopak v\u011bnuje sv\u00fdm t\u00e9mat\u016fm se zti\u0161enou pozornost\u00ed a citliv\u00fdm, empatick\u00fdm z\u00e1jmem. P\u0159\u00edroda, t\u011blo a du\u0161e v jej\u00ed tvorb\u011b p\u0159edstavuj\u00ed slad\u011bn\u00fd akord, kter\u00fd zn\u00ed \u010di vypad\u00e1 na prvn\u00ed pohled \/ poslech jednodu\u0161e, ale udr\u017eov\u00e1n\u00ed jeho \u010distoty a souzvu\u010dnosti vy\u017eaduje velmi trp\u011blivou a dlouhodobou pr\u00e1ci. <\/p>\n\n\n\n

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Dominika Slavick\u00e1 * 1993<\/p>\n\n\n\n


Primarily engaged in drawing and graphic techniques, she also works with sculpture and writes original texts. The combination of these media was the outcome of her diploma thesis, which is presented in a solo exhibition at the Artinbox Gallery.<\/strong><\/p>\n\n\n\n

Studies:
2017\u20132020 Graphics 1 (D. Smutn\u00fd)
2014\u20132017 Graphics 1 (J. Lindovsk\u00fd)<\/p>\n\n\n\n

Internships:
2018 Sculpture 2 (T. Hlavina)
2017 Graphics 2 (V. Kokolia)<\/p>\n\n\n\n

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Dominika Slavick\u00e1 \/ Through Metamorphosis<\/strong>
Text: V\u00e1clav H\u00e1jek, September 2021<\/p>\n\n\n\n

In Dominika Slavick\u00e1\u2019s drawings and prints, the themes of nature, body and soul intersect subtly and inconspicuously. Different artistic concepts meet here, oscillating between careful and attentive elaboration of details, ornamental approach and contour summarization. In the rich tradition of depicting the soul used to appear the motif of the butterfly or Psyche with butterfly wings, whose figure was usually placed in an interior of lush vegetation. The female figure (sometimes without wings), symbolizing the soul, used to be found in the archaic embrace of nature, which had not yet undergone \u201ccultivation\u201d (from the Latin verb colere<\/em>, which means the transformation of the original nature into a humanized landscape and from which the terms culture and cult are both derived). This unexplored and untransformed nature lacks distant vistas and clearings towards the horizon; human space with its geometric and profundal character has not yet been defined or carved out. What is missing from traditional depictions of the soul in nature\u2019s embrace, however, is an emphasis on the physicality of the figure. Rather, this was emphasised in relation to gender stereotypes, from which the connection between women and the water element was derived. Sometimes such stereotypes were devaluing (paintings of Sirens and such), while at other times they had a ramified symbolic potential (\u201cThe Spring\u201d by the Romantic artist Philip Otto Runge, in which a woman with a child by a water source symbolizes a new beginning, change, a reversal of history, etc.). Slavick\u00e1 emphasizes the corporeal aspect of the pictorial metaphors when in her drawings new vegetal and animal life is born from the lap of the female figure. Her works usually do not feature monumental spatial effects; she rather aims at the natural detail, the fragment, the interior. Here the interpenetration of animal, human and vegetal forms can be better shown. From this interpenetration and interrelationship a continuous ornamental arrangement is gradually born, in which the individual elements are smoothly linked in a slow flowing rhythm. Interest in ornament, arabesque, etc. can also be found in the works of the Romantics (the aforementioned Runge and others) and in the works of Czech artists such as Josef M\u00e1nes, Mikol\u00e1\u0161 Ale\u0161, etc. Slavick\u00e1, however, revitalizes this tradition and moves it into the present \u2013 in her works there are quite contemporary relics such as sneakers, jeans, etc. The interconnectedness of details, natural interiors, and the intermingling of organic shapes suggest the artist\u2019s wish to perceive unity again, a whole that has been lost somewhere in the course of the modern era. Modern science and society are largely fragmented, focused on individual, partial problems, which, moreover, change rapidly, appear and disappear at once, and our interest in them resembles glimpses rather than focused attention. Slavick\u00e1, on the other hand, attends to her subjects with hushed attention and sensitive, empathetic interest. Nature, body and soul in her work represent a harmonious chord that sounds or looks simple at first sight\/listen, but maintaining its purity and harmony requires very patient and long-term work. <\/p>\n\n\n\n

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