A point of intersection between different dimensions, worlds and realities, a focal point where all elements converge, creating a pivotal location in the universe.
A point of intersection between different dimensions, worlds and realities, a focal point where all elements converge, creating a pivotal location in the universe.
Working with a diverse range of media, PCU’s MA Fine Art and Future Design students explore the implications of a world defined by dualities. Each student is not only engaging with opposing realities and what exists between them, but this show takes place literally offsite from the location in which the works were conceived, planned and produced.
Molting Trepidation is a multifaceted artwork that immerses viewers in the transformative journey of a human-arthropod hybrid. This compelling piece consists of two video projections and a sculptural element that embodies the physical manifestation of the hybrid's metamorphosis.
In the first video, the hybrid navigates the complexities of urban life, grappling with the abrupt changes to their body. The cityscape serves as a challenging backdrop as the hybrid struggles to adapt and blend in. This struggle is poignantly depicted through their attempts to conceal the newly formed exoskeleton parts, symbolizing a desire to conform and the trepidation of revealing one's true self in a societal context that prizes uniformity.
The second video offers a stark contrast. Set in a white room with dirt strewn across the floor, the hybrid is shown in a space where they feel liberated to move at their own pace, embracing their insect-like nature. In this more intimate and controlled environment, they no longer hide the hard exoskeleton parts, symbolizing acceptance and comfort in their new identity.
The accompanying sculptural piece, worn by the hybrid in the videos, is displayed pinned to the wall like an insect specimen. It is crafted using the papier-mâché technique, which itself symbolizes transformation. Layers of old newspapers are meticulously shaped into hardened exoskeleton pieces, each layer representing a step in the process of change. These repurposed materials, once ordinary and discarded, are now reborn into a new form, infused with new life and purpose. The technique not only enhances the theme of metamorphosis but also highlights the cyclical nature of creation and renewal, echoing the hybrid's journey of self-discovery and adaptation. It serves as a physical reminder of the hybrid’s journey from trepidation to acceptance.
Molting Trepidation delves deep into themes of identity, transformation, and societal pressure. The juxtaposition of the urban environment with the serene white room highlights the hybrid's internal struggle and eventual self-acceptance. The use of the exoskeleton sculpture poignantly underscores the inevitability and necessity of change.
As you engage with the installation, consider the ways in which we all navigate our own transformations and the spaces we create for ourselves to grow. Reflect on the delicate balance between conforming to societal norms and embracing our true, often multilayered identities.
The project is influenced by Morton's idea of a "hyperobject"—a phenomenon so vast that it is beyond human comprehension. The installation explores the vastness of climate change, plastic pollution, fast fashion, and microfibers. Inspired by samples from everyday washing machines and tiny images under a microscope, I delved into the world of threads and fabrics, where each stitch drew me closer to my craft. The waves of fishing nets and sea urchins as invasive species weave stories on the hand-crafted garments made of cotton fabric. Some garments are completed, while others float in space as patterns, reaching all genders and ages, showcasing intricate details of threads as micro/macro-fibers, knotted fishing nets, drawings with stitches, plastic stripes, and other needlework to evoke a sense of the ocean.
Being an islander becomes more significant as the old fishing net hanging from the ceiling actually comes from the Karpaz region in Cyprus. It once hunted species, was exhausted by the waves, and was left out there. There are seaweed and other organic materials from the beaches, as well as plastic washed ashore by the waves and mixed with the sand. They were in contact with bodies of water and all of our companion species. These elements found their way to this city where there is no sea, creating a connection between Cyprus and Prague. The ceramic works installed on the island are inspired by the ancient kingdoms and heritage in Cyprus that are unappreciated, highlighting the borders and the ongoing division. The works come together and form an underwater world.
The archeological evidence of our internet induced evolutions expressed on a hypothetic, man made contribution to the fossil record, as a take on the idea of finitude and the fear of being forgotten. Represented in the eternalization of temporary tattoos and cartilaginous organs that, by definition are meant to fade away, applied on clay molded to resemble human/animal fossils from the future that intend to expose our dissatisfaction with our own humanity and at the same time our dependency on electronic devices.
The work in the shelves is displayed in order to represent both layers of sediment in which fossils are found as well as the layers of skin. The fur on the top shelf works as both actual fur on the skin and the grass above land.
Look inside the art world, where colors are the language that reveals my story. Brushstrokes are not just movement, but rather a guide to a landscape full of memories, emotions and different layers of reality. I am using the contrast of untouched nature and the endless path of the industrial world, harmony and chaos so that the works can carry many questions and possibilities. The paintings are thus not only a static view of the world, but rather an entrance to a space where the viewer can discover these layers. Into a world that seems full of contradictions.
I believe that art has the power to be not only an aesthetic experience, but also a means to evoke deeper thoughts and questions. My work is an invitation to immerse ourselves in this form of the essence of life and to seek balance in the world around us. About our responsibility and the future of nature in the context of technological development, but also about ourselves. Discover the beauty and challenges of our world and be a part of what it means to be alive.
Cat Manner is a targeting platform designed to help cat owners face behavior problems with their cats.Solid research indicates that people want their cats with unwanted behaviors to get out of their houses. At the same time, there is a lack of a professional platform that only targets such kinds of problems, and it is always a side-product of marketing, which means that contents play a role in attracting potential consumers or clients to sell cat products or services.
My project focuses on the production of kombucha, featuring tasting of various unique, full-flavored kombuchas at the exhibition. I craft multiple types of kombucha, each with its distinctive taste profile. Additionally, I design visuals, take photos, and create labels for the kombucha bottles. My ultimate goal is to supply kombucha in bottles to various cafes across Prague. The key concept lies in serving kombucha exclusively per glass to maintain its freshness, rather than in bottles.
We are, on a daily basis, existing in a space in between the real and the virtual, the physical and the digital, the image and the object. In this in-between space, which is inherently composed of photo, video, and text content, how do we sift through the data that we are constantly receiving? What are the implications on our memory, collective and personal; on the way we handle our and others’ media; on the way time and space become something fluid?
It is in these edge spaces that interesting things can happen; whether that edge is a physical wasteland, such as the area between city and non-city, or a virtual one, an abandoned website or inactive forum, spending time in the in-between gives us the opportunity to follow unexpected paths and have unexpected experiences.
My final project “Reflections of Realities” is an intersection of photography, memory, and reality, inviting viewers to embark on a journey through the labyrinthine corridors of remembrance. Acting as the building blocks of the assemblage, they invoke a sense of nostalgia, longing, and introspection. Each visual (altered/distorted/contorted) serves as a portal/passage/gateway to a different realm of memory, inviting viewers/observers to traverse the liminal space-times between past-present-future and individual/collective consciousness. From abstract textures to editorial-style photos, the conglomeration of my work explores how memories of the world (known/unknown) are preserved and distorted by time.
To theorise how visual images are shaped/formed/destroyed by the culture and society (the participants of the social construction viewer/creator) consider the power dynamics involved in visual representation and how the image(s) are constructed and the meaning conveyed. This framework is crucial for analysing the visual aspects of the project and how they communicate themes of memory and reality. By in-depth understanding of representation, symbolism, gaze and the cultural/social impact of visual media. A narrative infusing the crucial aspects of the medium gives rise to strong visual imagery which can be read/interacted with within the social contexts of visual arts.