4D – Alena Hesounová, Karla Olšáková, Kateřina Řezáčová i Lucie Houdková

The project of four, young Czech artists, graduates of the Academy of Arts, Architecture, and Design in Prague.  They have been exhibiting together for several years now. The objects created by them look equally good on the human body or displayed in space. The emphasized structure of each of these objects always stems from a specific source of inspiration. They ask to be touched and invite to play with them, to direct interaction. Their inspirations were: flowers (Alena Hesounová), basic structures of life and their aestheticization (Lucie Houdková), surrealistic effects and dynamics of the forms (Karla Olšáková), poetry and movement (Kateřina Řezáčová).




In her work, Alena starts from the surface. She works directly in the material, sheet metal which has been cut through. By being deformed, doubled, and interpenetrated, new three-dimensional objects emerge with a light and thus all the more effective asymmetry. For the shapes and effect of herImpress collection (her final-year project at art college in 2011), Alena sought inspiration in the ground plans of twentieth and twenty-first-century church architecture. These spaces of introspection and encounter, designed by architects in a two-dimensional medium, have in Alena’s hands been transformed into small vessels, something like space-age arks. The objects of the current collection, called Passiflora, also have a meditative quality. This time, Alena was inspired by the movement of flowers, which open and then close again. She has transferred them to transparent compositions with a dynamic charge. The power also comes from within, from the concentrated ‘emptiness’ which is embraced by their subtle little arms.




For some time now, Kateřina has been working with the theme of layering. In her jewellery, bordering on concrete poetry, open to all the senses, the series of layers expresses the passage of sound and the dynamics of a musical composition or the human voice. For her objects from layered curves derived from demographic data, she chose a different principle of thematizing time. She invested her own feelings and viewpoints into the work of her Graphellery collection (made as her final-year project at art college in 2010), both in her choice of input data and in the way she has reshaped them. The current collection, Layva, raises its artist’s personal formula to an even higher level by including real movement. The pendent objects of thin layers, which do not fit tightly against each other, are held together by drawstrings that can be tightened or loosened at will. Using means worthy of Constructivism, Kateřina has made jewellery of abstract shapes, yet with the character of beings. The transformations of forms bring to mind the fidgeting and restlessness intrinsic to everything that is alive.




In the current form of the 4D project, Karla defends the architectural quality of art jewellery. The building blocks of her subtle works are often clearly defined stereometric forms. From them she builds either fixed compositions, whose movement is generated by the body of the person who wears them, or constructions that are kinetic from their very foundations. The jewellery, which at first sight appears to be logically assembled from repeating elements, gains a strongly sensed irrational quality thanks to the infinite variability of its appearances. This potential is the artist’s entry into an intense dialogue between herself and the wearers of the pieces. As a springboard to her collectionWhat I Found behind the Looking Glass (which she made as her final-year project at art college in 2011), Karla was inspired to use her own experience of the remarkable stories of Lewis Carroll. Abstract objects as bare, apparently simple, and clear principles of composition were evidence that a mysterious sequence of events could be made material with the same urgency even without figurative means. Rational structure becomes the entrance ticket into a world of fantasy also in her current collection, A New Breath, in which Karla accentuates the tension between the outer and the inner profiles of the objects. She thus encounters the exciting connection between the world around us and in us, the macrocosm and the microcosm, the visible and the hidden.




Lucie is an artist who is fascinated with the search for the basic structures of life and their aestheticization, which was typical of the illustrated scientific publications of the nineteenth century. In her Depth collection (made as her final-year project at art college in 2010), she drew primarily on the work of the biologist Ernst Heinrich Haeckel, who turned the attention of Western civilization to a hitherto almost unknown world of miniature creatures on the bottom of the sea. The desire of those days to discover the principle of living matter, which would be as beautiful as it is functional, comports with the fundamental idea of artistic creation. Lucie has gone further. With her kinetic objects, which undulate like the branches of coral polyps, she has paid tribute not only to the diversity of the universe, but also to jewellery’s power to enliven the human body. In the new collection,Bondage, the hitherto ethereal conception of Lucie’s objects has completely retreated from the clash of forces. Proliferating, bulging forms, cast in synthetic rubber, are tightly bound by a tissue of textile. The freely hanging ends of threads intensify the electrifying effect of the whole and its surreal tone.


Open: 22nd April – 31st May, Tu-Fr: 11.00 a.m. – 6.00 p.m., Sa: 10.00 a.m. – 2.00 p.m.

Place: Satyrykon Gallery, Rynek 36




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Legnica Jewellery Festival SILVER 2020