DOORS (Collection of the artist) 1997
mixed media installation
is a kind of private collection based on 17th century "Wunderkammer" and illustrating a worldview in which the viewer is asked to link dissimilar objects by freely associating. The miniaturized cosmos concealed inside the cupboards contains videotapes, photos, computer animations and objects that enter into a relationship with each other in accordance with which doors have been opened.
DOORS II. 2001
mixed media installation cabinet 7. and 8.
mixed media object
mixed media object
(Developed as part of the project "Randezvous" in the Robert Bosch hospital, Stuttgart.)
is a mobile object that can be easily transported anywhere
in the hospital. This unusual medical machine attempts to adapt itself to
its surroundings.The object is covered in a sheet as if in the operating theatre however,
the front remains open allowing one to see inside. Due to a cone lined
with mirrors a sphere similar to a bodily organ is created via a central
The work, a combination of video projection and a laserbeam, is an attempt to communicate and explore physical experience in an immaterial world.
videoprojektions / drawings projected on the Mikulov-castle
Two large-scale projections on black molleton show 3-D-modelled animated objects.Animation 1 is composed of stereometric bodies reminiscent of recognizable objects such as vases, tobacco- pipes, stones or shells. They slowly revolve about their own axis and for a brief instant link up to form a face, which immediately dissolves and the individual items are re- formed. Animation 2 features an endlessly rotating 3-D bone — a reference to Stanley Kubricks 2001 A Space Odyssey
Two young boys face one other, talking. They look identical, like twins, but each speaks a different language. In todayęs world, bilingual children are not unusual. Yet my everyday encounter with this phenomenon (including my own son) has inspired me to make this Video Installation related to the theme of double identity and the encounter of two cultures by means of a simple video special effect (a boy split in two) and a certain humorous hyperbole.
3-D objects are mapped and animated.
Films of my memories appear in fragments: ordinary lifes, journeys to farway countries, nature and architecture transformed into sculptural, vivid organic bodies, who connect themselves within a virtual space, in which new visual links are revealed. This is, however, not only an attempt to find a presentation in order to show our mental process, but the issue is to develop new features and systems that come closer to manęs mind than the visual rectangular images and movies are able to.
A sheet in the wind has been recorded for 30 minutes and is projected onto a wall in a semi-lit room by a video beamer.
This creates a shift in the perceived reality.
The projected upon wall dissolves allowing the projected reality to take over completely.
Hands devoid of a body act autonomously on a projection surface, and, by their gestures, create signals and emotional messages.
In front of black background we see an unidentifiable object. An organic morphous
form slowly begins to move. This changing mass creates diverse deformities with
which, depending on ones imagination, famliar forms can be associated. After a
while it becomes clear that this morphous mass is being moved by a hand.
It is left to the observer to either continue searching for visual associations or to
watch the engulfed hand attempting to free itself.
ENSEMBLE III. 1998
BETWEEN - TIME 1995
On board ship in the Ocean.
A violent sea. A glimpse into infinity. Through the use of the swaying, unstable camera, the observer feels transported onto the ship.
Through the use of double projection, layering and chronological desynchronisation, the bodily experince of this installation is amplified and feels very real.
A straw hat from one of the passengers sits on top of a pole which is leaning against the wall. This not only symbolises a person but also provides the only stable point which can be held onto so as not to lose balance.
In the Corner project I respond to the architecture of the Brno House of Arts.
The video projection has been specially designed to fit in the upper triangular front of the building. It depicts a human
figure while trying to cope with the limited corner space and the objects inside them in various ways. Hence this absurd play, or rather a kind of futile eff ort, is stuck in a repeating loop, after the dusk falls, night after night, while Brno is asleep.
HAPPY WALL 1996