Early blossom is out of sync with species depending on its so-called “ecological mismatch” plants and hibernating or migrating insects, birds, and other wildlife are no longer synchronized. This leads to species collapse because they simply can’t adapt quickly enough.
While it could be difficult for people to see the significance of average 1C warming; according to scientists, herbaceous plants produce flowers an average of 32 days earlier, blossoming trees 14days sooner since 1793.
NRGY metal, neon light (argon gas), lacquer 110 x 55
Inspired by the ephemerality and potential of argon gas to get electrified with high voltage, become plasma, and conduct metal.
In the making of this piece, we could find similarities with the automatic drawing movement that is made possible by suppressing consciousness and rationality and letting go of the process of creation itself. The drawing technique with the plasma cutting has a particular look because of various depths that could be achieved once the metal melts and sensory limitations due to the protective suit worn by the artist.
Argon gas was used for welding, plasma cutting, and inside the glass tube conventionally known as neon light.
neural networks, video projection, plexiglass sound design: Nathan Solo
Data from the NASA archive were fed into a neural network algorithm, which generated a series of images that become mixed with the original input data, and the calculation in between the particular images became a video output that mimics the night sky.
According to the astronomers, 99% of the European Union population live in areas with light pollution and therefore are unable to see properly celestial objects. Before artificial lighting was invented, the night sky was used for navigation, there were stories and myths about the constellations and their meaning. Yet in the 21st century, we’re more likely to see pictures from NASA than see the night sky with our own eyes. Does the approximation of pixels become the destiny of humans?
We are looking at the same sky, but we’re seeing radically different things.
3D print of an enlarged moth brain and neuron connections, upcycled computer display, light source
Outdoor artificial lighting is one of the driving forces of an insect and moth decline. According to scientific studies about 1/3 of insects swirling around artificial lighting dies by morning (fall prey or exhaustion).
Moths and other nocturnal insects are disappearing because of their fatal attraction to light. (They were supposed to navigate through stars)
Less visible, possibly more damaging effects are changes to predator-prey and plant-pollinator relationships that can reverberate through ecosystems.
Contributed this piece to an exhibition about the negative aspects of light pollution.
Compared to the timeline of the Earth, human life spans are but a speck of dust, yet as a species, we are leaving irreversible traces in the landscape, that will still be noticeable long after we are all gone. The losses of habitats and primal nature are usually justified by the resources we need (minerals, wood) and therefore seen as development at the expense of nature. Whether there is a chance for sustainability depends on shifting the anthropocentric worldview and placing us not above but as a part of the whole – as we are – yet strangely – we have somehow evolved to forget this.
Inspired by the book of Arthur Koestler – The Ghost in the Machine. The work attempts to explain humanity’s self-destructive tendency in terms of individual and collective functioning. Especially by the concept of a h o l o n (holos, ‘whole’ and -ον, -on, ‘part’). The term holon refers to the idea that something is simultaneously a whole in and of itself and a part of a larger whole (for instance, trees and seeds are a perfect example of a holon).
collaboration: Gabriela Prochazka & Michal Blecha sound: Elephant by Loke Rahbek & Frederik Valentin graphic design: Marijn Degenaar production: Václav Kovář many thanks for consultation: Martin Janoušek
For the special opening of the dance theatre Ponec’s 20th season I created a space that started out as a light installation and gradually turned into a proper dance party. The idea was to give the dancers a chance to work themselves into the ecstatic or almost trance-like state that can sometimes occur at rave parties and which embodies total freedom of body and mind – that moment when nothing else in the world exists except for the music and the body moving with it.
A laser drawing was projected onto the building’s facade and into a special prismatic circle that was hung above the entrance. The wind interacted with the circle, and so sometimes the projection mapping worked precisely, but at other times it was more up to luck. This created a sense of playful chance, which was dependent on the weather conditions at the time.
Concept, creative direction: Gabriela Prochazka Laser, light installation: Gabriela Prochazka Support: Lunchmeat studio Sound: Oliver Torr Choreography: Jindřiška Křivánková
Performers: Viktor Černický Cecile Da Costa Markéta Jandová David Králík Tereza Lenerová Hradílková Žaneta Musilová Jaroslav Ondruš Jazmína Piktorová Ester Trčková
Special thanks to: Václav Kovář Ondra Eliášek David Vrbík Eliška Kociánová Jan Slanina
Laser intervention at the Počerady coal-fired power plant, the largest polluter and producer of greenhouse gases in the Czech Republic. It emits 5.5 million tons of CO2 and 223 kg of Mercury into the surrounding landscape every year, yet is only able to make use of 1/3 of the energy it produces.
“We act locally, but our activity is global. Similar artistic interventions are taking place around the world. We don’t have a second planet. Humankind must unite to save it. We are not activists, we are nature protecting itself.”
Inspired by global activist movements, post-internet culture, and claims, the projections on cooling towers included messages including, “Shit is fucked up and bullshit,‘‘ “#nofilter,” “I can’t believe I still have to protest this shit,” “We’re losing time,” as well as information on the toxic waste it produces, and, of course, classical ‘‘Stop coal.”
Made by Czech light artist collective to support local and global climate movement.
photo prints, 420 x 594 / 297 x 420
Galerie Cella, Bludny Kamen, Opava, CZ, 2018
This photographic collection explores the light bending phenomenon and it’s correlation between science and art. Visual dynamic structures suggest that light is a potent medium, able to create ephemeral scenes reminiscent of abstract art movements. When darkness is a canvas, and light is a paint.
The concept of each composition was cautiously built from prismatic materials around a source of a light and projected on a flat surface.
Images were photographed as they appeared to the naked eye.
Gabriela Prochazka – direction / light design
Ichi Go – dance
Arielle Esther – sound design
Georg Werner – sound and light interface
Eyal Meistel – costume design
contemporary dance performance with elements of butoh
(butoh; also known as a dance of darkness)
In the first state, man and sword become one and each other. Here, even a blade of grass can be used as a lethal weapon. In the next stage, the sword resides not in the hand but in the heart. Even without a weapon, the warrior can slay his enemy from a hundred paces. But the ultimate ideal is when the sword disappears altogether. The warrior embraces all around him. The desire no longer exists. Only peace remains. – King of Qin, Hero
trailer / 2016
supported by Adam Csoka Keller, Eveline Belincakova, Sandro Mosco
These macro and microscopic visuals are a result of continuous investigation of pure materiality and what they could possibly tell us about how this universe was made. With the use of various common materials, these abstract organically structures collages emerge.
In daily life, one tends to disregard seemingly ordinary moments of passing natural elements, but when sculpted and captured in time, observation of these structures, might lead us into philosophies such as wabi-sabi which represents Japanese aesthetics and world view. Sometimes described as one of beauty that is ‘imperfect, impermanent and incomplete’. Understanding emptiness and imperfection was honoured as tantamount to the first step to satori, enlightenment. The idea is, that being surrounded by natural, changing, unique objects helps us connect to our real world. In one sense wabi-sabi is a training whereby one might find basic, natural objects interesting, fascinating and beautiful. Wabi-sabi can change our perception of the world to the extent that a chip or crack in a vase makes it more interesting and gives the object greater meditative value.
« To see a world in a grain of sand And a heaven in a wild flower,
Hold infinity in the palm of your hand, And eternity in an hour. »
– William Blake
installation / cat skull, various light sources, black velvet, speakers
Schrödinger’s cat is a thought experiment, sometimes described as a paradox, devised by Austrian physicist Erwin Schrödinger in 1935. The scenario presents a cat that may be simultaneously both alive and dead, a state known as a quantum superposition, as a result of being linked to a random subatomic event that may or may not occur.
The work is Memento mori which has been an important part of ascetic disciplines as a means of perfecting the character by cultivating detachment and other virtues, and by turning the attention towards the immortality of the soul and the afterlife.
We can see a part of a dead cat, to which a new life is given with light sources – fluorescent tubes ad LEDs, and illusion of a life beat with speaker turning themselves on/off.
Vltava River, Prague, CZ
computer, open source softwares, microprocessor, digital LED lights, light transmitting materials
1800 x 500 x 100 cm
,,An uncertain world lies under the water surface.”
Kraken is a cryptid = from the Greek κρύπτω, krypto, meaning “hide” is a creature, whose existence has been suggested, but has not been discovered or documented by the scientific community. Legendary sea animal, gigantic in scale. It is said it lives in the northern seas. This time it arrives in Prague. One can miss it during the day, but not at night time, when it starts its own visual show, putting us in mind of the bioluminescent powers of deep water creatures.