Page 65 - Winter Issue

You describe your work as creating a dialogue around taboo topics like sex and intimacy. What reactions
have you encountered from viewers, and how do you hope these themes impact them?
I’d like to describe the reactions I’ve already experienced with my pain rather than imagining what could happen. For
example, I found it interesting to see how, even during the creation process, the works prompted questions that often
pushed viewers out of their comfort zones—some would blush or weren’t sure how to ask what they wanted to know.
However, as they saw more of my work, the conversations gradually became more relaxed and open. I hope viewers will
share what they see in these pieces, even though they often depict simple details of nature. These can evoke new
associations, inviting them to a more open and honest conversation.
Could you talk about your experiences with art residencies, such as EcoSuites and Rinitawa?
My works created during the art residency in Greece involve UV "painting" with sunlight, allowing me to transfer olive
leaves directly onto the canvas. This process incorporates an aspect of recycling by using materials such as former hotel
curtains, shifting the intention of capturing the surrounding landscape onto recycled canvas, and minimizing additional
waste. From New Zealand, I brought back the Pāua series, which studies the unique patterns and layering of the nacre
from a sea snail found along the country’s coastline. This series helped me transition into more abstract painting.
How do you balance contrasting atmospheres, and what do you hope viewers feel experiencing it?
I work with natural shapes and structures to create a moment of surprise, similar to what someone might feel in the Red
Light District. It’s fascinating to see how these innocent natural lines can transform into an intense, almost intimate
experience, offering new ways to perceive nature. In my thesis work, these motifs were more explicit, but now I’m
focusing on abstracted forms and the essence of conception and intimacy, aiming to convey it without relying on overtly
sexualized elements.
Your works are included in notable collections like the Zdeněk Sklenář Foundation and ecoSuites. How do
you feel about your pieces being preserved in such collections?
I appreciate this support because it opens new doors for my work and gives me chances to grow. It strengthens my
commitment to creating art that connects with viewers and sparks important conversations. Knowing that my pieces are
included in significant collections gives me a real boost.
Can you tell us about your upcoming projects or exhibitions?
My upcoming project is part of the exhibition Fabulae de Monte Cuthna, curated by Radka Zahradníková, which
celebrates the 30th anniversary of Kutná Hora's inclusion on the UNESCO World Heritage list. Together with artists
Martina Minařík Pavelková and Nina Kirk, I’ll be presenting a multimedia installation that explores one of three central
medieval tales tied to the history of this remarkable city.
I’ll focus specifically on the legend of Melusine, expressing it
through paintings and a video art piece. This exhibition will
transform the Czech Museum of Silver into an interactive
space where visitors can engage all their senses, creating a
unique blend of history, art, and legend. The exhibition
opens on May 13, 2025, and runs to November 9, 2025, at
the Czech Museum of Silver in Kutná Hora.
How do you see art as a tool for societal change, and
what role do you think artists play in facilitating
difficult conversations?
Art can be a powerful tool for societal change, creating a safe
space for exploring difficult emotions and experiences. In my
work, the themes are not always directly expressed, yet they
remain clear and relatable. My goal is to encourage visitors
to confront personal desires and challenges—often those
they may find hard to share. For some, my work may prompt
self-reflection, while others might find comfort in realizing
they are not alone in their experiences.

Strawberry
Acrylic & Oil on canvas, 20x18cm, 2023

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