70 x 50
70 x 50
70 x 50
Czech Embassy in Sweden
Also projected as a part of Culture Night of Stockholm at The Castle
Many thanks to:
Jonas Johansson, Visualia residency
The outcome of VISUALIA residency, Sweden, 2022
hosted by: Jonas Johansson
video projection collaboration: Annie Tadne
Inspired by Norse mythology, runestones, and memories of events that may or may not have happened.
light intervention, digital photography
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.
30 x 30
UV print on aluminium
44 x 27
metal, lacquer, light refracting pigment, light source
exhibition in collaboration w / Oliver Torr
curator: Daniela Kramerová
Bubec studio, 2022
metal, various light, and sound sources
In between light reflections, metal drawings, and sound resonance installation.
photos: Fabiana Mertová
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.
3D print, lacquer, pigments, UV print, plexi, led lamps
curator: Petra Housková
photos: Roman Valenta, Táňa Takáčová
Šopa gallery, Košice, Slovakia
Inspired by the biomineral process of mollusks.
The solo show is an outcome of a 2 months KAIR Košice residency.
land art ~ light intervention
Does what we create justify what we destroy?
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
mixed media 70×70
Inspired by the ideas of the microcosm-macrocosm analogy.
projection, RGB led lights, hazer
Project by: Gabriela Prochazka & Lunchmeat studio
concept / creative direction: Gabriela Prochazka
animation: Pavel Žáček
sound design: Ondra Mikula
typography: Anymade studio
voiceover: Justin Lavash
photography: Lukáš Havlena, Filip Kustka, Jakub Doležal
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.