Concepts

Album - Concepts
/data/gallery/152photo-1-thumb.jpg
  1. Anti(fa)-ideological panoptic

    2015. Combined technique.

    Dimensions: h.350x w.300x l.300cm.

    Installation in the northern annex of neo-gothic castle in Galanta.  

    It does not matter which symbols we bless or damn. The evil is capable of wearing any vestment of holiness and purity. A man possesses both joy and vanity – while God's is the judgement.  



    Anti(fa)-ideological panoptic
  2. Antifa-community

    2000 - 2016. Combined technique.

    Dimensions: h.350x w.300x l.300cm.

    Installation in the northern annex of neo-gothic castle in Galanta.  2016

    I am observing the transformation of ideas into characters or marks. The archetypal origin of the shape is related to its ideological or spiritual nature. Thus I am opening a testimony of the controlled decadent transformation of society in contrast with coming everlasting craving for rebirth.



    Antifa-community
  3. Stars of extremism

    2015. Steel. Dimensions: h.30x w.50x d.0.5cm.

    War conflicts are overripe fruits of corrupted world’s elite. Behind every battle there is a higher economic interest – none of them arises just like that from the bottom! Though the power propaganda in various parts of the world tried to stir up this kind of feeling. War is the best business. 



    Stars of extremism
  4. The touch of God, installation With love accessible

    Statua Gallery 2016, Bratislava.

    2015. Combined technique.

    Dimensions: l.560x w.150x h.260cm.

    Human trace in the touch of God is like a response to love written by knife. Panoptic of world-ruling trends trying to enslave the mankind – so far successfully. It is up to a man, whether he can stay faithful to own mission, or to the utmost essence.

     



    The touch of God, installation With love accessible
  5. Almost silenced Prometheus (Profetheus)

    2013. Combined technique.

    Dimensions: h.340x w.145x d.16cm.





    Almost silenced Prometheus (Profetheus)
  6. Installation Anti-ideological panoptic

    Installation 1998 – 1999.

    Combined technique.

    Dimensions: 500x 400x 240cm.

    I have created the installation in 1998-1999 as a call for social discourse on the dark historical period of the first Slovak Republic - the Slovak State existing in the years 1939 - 1945.

    Many European countries (including Slovakia) miss historical catharsis as an inevitable form of spiritual-karmic cleansing assisting the revival of society.



    Installation Anti-ideological panoptic
  7. Installation Anti-ideological panoptic

    Installation 1998 – 1999.

    Combined technique.

    Dimensions: 500x 400x 240cm.


    I have created the installation in 1998-1999 as a call for social discourse on the dark historical period of the first Slovak Republic - the Slovak State existing in the years 1939 - 1945.

    Many European countries (including Slovakia) miss historical catharsis as an inevitable form of spiritual-karmic cleansing assisting the revival of society.

     



    Installation Anti-ideological panoptic
  8. Record card

    2000. Stainless steel.

    Dimensions: 35x 20x 0.2cm.

    A photo with a shadow of a record card being held by a human hand over a rusty steel plate. The record card as an attempt to define universal attributes of existence that can be attributed to all living and nonliving organisms. The record card is mocking the technocratic and meritocratic way of thinking, so typical for so called Western civilization.



    Record card
  9. Evidence of existence

    Relief. 2006. Aluminum.

    Dimensions: 96x 52x 3cm.

    A fictitious submarine fossil with a dominating imprint of a cross in the shape of two intersected exclamation marks; skeleton of extinct fish species and a record card with: Name referring to (Name); Type referring to (Species); Date referring to (Date of birth); Purpose referring to (Mission); Durability referring to (Life-span). Mortal remains from the past life that have been preserved as a reference from the dead, who cannot anymore; to the living ones, who still can, though they act as if they could not. The question is: "To be or not to be?"



    Evidence of existence
  10. In the jungle of predestinations

    2009 - 2010.

    Aluminum. Combined technique.

    Dimensions: 194x 92x 4cm.

    Depiction of a pair styled in the middle of a dense whole of astral signs, bones, palm leaves and other biomorphic deposits and sediments. 
    We are all occupied with fundamental and existential issues in the context of genetic, astral and other predestinations in our lives.
    Relief pseudofossil with a central theme of two styled figures of prisoners – a man and a woman – wrapped in tight condom-shaped incubators.   



    In the jungle of predestinations
  11. Compressed truth

    1999. Steel.

    Dimensions: 84x 60x 0.5cm.

    Authoring steel graphic matrix for the technique of rust imprinting. Work of art from series of encoded texts. Visual text encoding by analyzing / taking apart particular letters of the text and recomposing them on a plate.
    The original semantic content of the encoded text before taking it apart:
    "Never do anything that you do not want to be seen.”

     



    Compressed truth
  12. Compressed truth

    2000. Rust imprinting on textile.

    Dimensions: 100x 150cm.

    Rust imprinting on an old bed sheet.



    Compressed truth
  13. Compressed name: Andrew

    1999. Steel.

    Dimensions: 84x 60x 0.5cm.

    Authoring steel graphic matrix for the technique of rust imprinting. Work of art from series of encoded texts. Visual text encoding by taking apart particular letters of the text and putting them on the smallest possible area. 



    Compressed name: Andrew
  14. Victim of own-aggression

    1999. Installation. Steel.

    Dimensions: 290x 290x 60cm.

    Relief of "Victims of own-aggression" depicts transcription of a graphic pictogram of human figures styled in the shape of swastika. Based on the analysis of isosceles cross and swastika I have created graphic symbols of human bodies leading a struggle for power.



    Victim of own-aggression
  15. Victim of self-aggression

    1999. Installation. Combined technique.

    Dimensions: 290x 290x 60cm.

    Relief of "Victims of self-aggression" depicts transcription of a graphic pictogram of human figures styled in the shape of swastika. Based on the analysis of isosceles cross and swastika I have created graphic symbols of human bodies leading a struggle for power.



    Victim of self-aggression
  16. Touch of a thought

    2004. Steel.

    Dimensions: 245x 100x 75cm.

    Cartoon display represents the shortest way to visualization of an idea and thus its communication into visible form. By drawing in the space it is possible to shift real contours into coarse material form of a sculptural work of art.



    Touch of a thought
  17. Radioactive fossil

    2009 – 2010. Combined technique.

    Dimensions: 194x 92x 6cm.

    Radiation is able to vitalize, keep growth, but also to kill.
    Everything depends on the intensity, nature and type of radiation.
    The rest is in God’s (or human's) hands.



    Radioactive fossil
  18. Wreck no.1 -detail

    2002-2003. Steel-concrete. 

    Dimensions: 220x 110x 90cm.

    Wars are the product of market mechanism in power-political conflicts leading to warfare of an aggressor against an invaded country: with victims, results of omnipresent destruction and wrecks.
    A person renouncing the personal responsibility signs an agreement with the army, executes orders like a machine, takes away freedom, rights, lives, everything…  By relinquishing his own freedom – if he has ever had it in the past – and by murdering and enslaving other humans he ceases to be a man!



    Wreck no.1 -detail
  19. Wreck no. 1

    2002–2003. Steel–concrete.

    Dimensions: 220x 110x 90cm.

    Wars are the product of the market mechanism in power-political conflicts leading to warfare of an aggressor against an invaded country: with victims, results of omnipresent destruction and wrecks.

    A person renouncing the personal responsibility signs an agreement with the army, executes orders like a machine, takes away freedom, rights, lives, everything…  By relinquishing his own freedom – if he has ever had it in the past – and by murdering and enslaving other humans he ceases to be a man!



    Wreck no. 1
  20. Life and death (two worlds)

    1998. Steel.

    Dimensions: 49x 49x 15cm.

    The spirit desires self-actualization and birth of a real person, after being activated and put into the real life. We are created by transformation and destroyed by our own systematical transformation. Breathe in – and out – and in ...

    Who is the winner of the inner personality struggle between real, often untold forms of self-definition and notion of ourselves? Life is the process and regular mental hygiene with active purposeful exercise is the key to the equilibrium of life.



    Life and death (two worlds)
  21. Coffin as a "living“ space

    2001. Printing on PVC banner.

    Dimensions: 165x 125cm.

    Visualization of a coffin-shaped incubator. We, human beings, by irresponsible acting fail in all respects. We act as if we were the last dwellers on this planet and after us comes the flood. The truth is that there is no other planet with biophysical environmental parameters suitable for human life.



    Coffin as a "living“ space
  22. Coffin as a "living“ space

    2001. Printing on PVC banner.

    Dimensions: 165x 125cm.

    Coffin as a living space is a paraphrase of absurd technocratic aspiration to find a new living space outside of our amazing planet. Misconceptions of life in incubators or hardy bunkers, of life after life, life in another space-time or galaxy, life in another place, under other circumstances, is as absurd as the idea of living in a glass coffin.



    Coffin as a "living“ space
  23. Couple

    2003. Steel.

    Dimensions: 50x 25x 11cm.

    In the minimalist figural composition I have tried to clear the figurativeness to structural aspects of horizontal-vertical spatial contexts. Schematic austerity, archetypal rigidity is a reflection on existential co-ordinates of materialistic human relations. Spatial character of the couple remains an iconic structural element in the model of a healthy human society.



    Couple
  24. Go-go dancer

    2004. Combined technique.

    Dimensions. 86x 30x 30cm.
    "The great nations have always acted like gangsters, and the small nations like prostitutes."



    Go-go dancer
  25. Why being a Macho?

    2003. Combined technique.

    Dimensions: 33x 13x 11cm.

    When the injustice rules, it is because arrogance, law of force, roughness, narrow-mindedness, unethical, unmoral, brutal conduct and lack of true social and human values prevail in society. Principles of rule of political nominees mirror their mission. The worse, the better.

    The post-communist transformation of the Slovak Republic has taken place in the manner of stage-managed takeover of power on particular levels of power and economic sphere of the society. The leaving government nomenclature has appointed its persons into the new power positions. Perfidy, irresponsibility, professional incompetency, cronyism, robbing privatization, abuse of power, defalcation, asset stripping, sale of strategic enterprises, adoption of Euro, etc. Legislative and other steps of politicians create conditions allowing for modern slavery of Slovak citizens.



    Why being a Macho?
  26. XYZ

    1995. Painted wood.

    Dimensions: 34x 19x 22cm.

    Every person is influenced by own ideals, ideas and by own mental pattern. We are influenced by our expectations, thoughts and aspirations; in this way we are getting closer to the certain absolute partially constrained by our physical death.

    The life of man is a variable continually being transformed from actual current form into the next one, etc. Interactivity of eternal inner mirroring creates our essence - through the states of psychosomatic perception into the physical form of our external appearance.



    XYZ
  27. Monument to the wartime superhero Creation of militant bio-mechanism.

    2003. Combined technique.

    Dimensions: 40x 15x 11cm.

    Soldier – a man as a killing machine being an indispensable integral part of a society based on lies about sustainable development, while everything suggests that the mankind is enhancing its commitment to sustainable mutual self-destruction.



    Monument to the wartime superhero  Creation of militant bio-mechanism.
  28. Memorial to rebels

    2003. Combined technique.

    Dimensions: h.39x w.20x d.20cm.
    From a series of fictitious memorials. Spatial study.
    On the ruins of the old system, conditions for existence of a new one are created.

    "No door is closed to keep another from opening".

    The ideal of fellow feeling is expressed by self-sacrifice for common, social good.



    Memorial to rebels
  29. A memorial to an unknown shaman

    Fictitious memorial - spatial study.

    2002. Combined technique.

    Dimensions: 25x 17x 12cm.

    Shadowy silhouettes touch our fantasy and open up Pandora's box of our imaginations and conscience. The final figural sculpture becomes sovereign; it does not need to be liked, it resigns to tendentious sculptural processes.

     



    A memorial to an unknown shaman
  30. Picas/sos

    1995 - 2011. Assemblage.

    Dimensions: 113x 47x 42cm

    The Picas/sos assemblage has been gradually created for 16 years. Firstly I have created a willow bust. From time to time I returned to the work of art and thought it over. In the final phase I corrected the composition, laminated it with resin, and painted it. It's a great feeling to create without worrying about the criticism. To feel free to go back in time, finish a work started long ago without caring about conventional views of the contemporaries.



    Picas/sos
  31. The holy couple

    2003. Painted steel.

    Dimensions: 35x 15x 15cm.

    A minimalist figural composition, in which I tried to shift the figuralism to almost a linear level. Schematic simplicity and formal purity is a paraphrase for the valuable harmony of certain human relationships. Spatial character of the couple remains an iconic sign of the basic cell of human society.

     



    The holy couple
  32. Handcuffed ...

    2000. Combined technique.

    Dimensions: 40x 10x 13cm.

    The author's conceptual casting technology – the casting mold remains an integral inseparable part of the created sculpture.



    Handcuffed ...
  33. Minotaurus- The remains of the mythical Minotaur

    2002. Thesis, AVU Prague.

    Dimensions: 300x 200x 40cm.

    Pseudoarchaeological research in the cadastral area of Šaľa city and subsequent adjustment of Minotaur remains in a museum In situ mode. Prehistorical mythical creatures seem to be historical precedent forms of genetic mutation between different sanimal species. What until recently seemed to be a groundless fiction is actually a real possibility concealed by genetics.  What mainstream mass media submit to the mankind are only small fragments of progresses achieved by genetics. In the same way the manipulated and concealed archaeology findings only reveal the part of archaeological discoveries complying with the evolutionary view of life. About the concealed facts from the world of archaeology we are only getting fragmentary information. 



    Minotaurus- The remains of the mythical Minotaur
  34. Evidence card

    2001. Bag patch.

    Dimensions: 27x 37cm.



    Evidence card
  35. Victim of own aggression

    1999. Installation. Steel.

    Dimensions: 290x 290x 60cm.

    Relief of "Victims of own aggression" depicts transcription of a graphic pictogram of human figures styled in the shape of swastika. Based on the analysis of isosceles cross and swastika I have created graphic symbols of human bodies leading a struggle for power.



    Victim of own aggression
  36. A spring for ladies

    2001. Installation at the ladies' toilet at the AVU (Academy of Fine Arts) in Prague, reflecting the sterility of the Prague AVU building after reconstruction. I have covered the ladies' toilet with moss and green I have brought from Šumava. The ladies entering the doorless toilet often walked into the nature's bosom with moss under their bare feet.



    A spring for ladies
  37. Spring no. 1 for gentlemen.

    2001.

    Installation at the men's toilet at the AVU in Prague, reflecting the sterility of the Prague AVU building after reconstruction. The moss in the sink and urinals was symbolically supposed to – except for its psychological harmonizing function – neutralize the aggressive detergent before the contaminated water leaves the AVU premises.

     



    Spring no. 1 for gentlemen.
  38. Christmas butterfly

    1999. Fish tails.

    Dimensions: 25x 23x 1cm.

    A carp is a symbol of the season celebrating love, quietude and peace. A dumb victim is an ideal victim – that is what a fish exactly is. I use the fish motive in my works as a metaphor of dumb and dull victim without any voice or protest – with silent endurance, while we sacrifice it with love to our beloved, and never forget to keep the scale as a symbol of abundance. During the Christmas in 1999 I have systematically collected the carp tails and created the most bizarre butterfly protest collection – collection of “fish souls”.     

     



    Christmas butterfly
  39. Wreck no.2 - Made by US. Army

    2003. Steel – concrete.

    Dimensions: 180x 90x 80cm.
    I have developed the conception of fictive wreck creation half a year before the US allied forces invaded Iraq. Wars are the product of market mechanism in power-political conflicts leading to warfare of an aggressor against an invaded country: with victims, results of omnipresent destruction and wrecks. A person, renouncing under favorable conditions his personal responsibility, signs an agreement with the army – the devil. He executes orders like a machine, takes away freedom, rights, lives, relinquishes his own freedom (if he ever had it before). Under this demonic slavery, murdering and enslaving other humans he ceases to be a man!  



    Viac o diele
    Wreck no.2 - Made by US. Army
A memorial to an unknown shaman

A memorial to an unknown shaman

Fictitious memorial - spatial study.…

Wreck no.2 - Made by US. Army

Wreck no.2 - Made by US. Army

2003. Steel – concrete. …

Wreck no.2 - Made by US. Army

Wreck no.2 - Made by US. Army

2003. Steel – concrete. …

Wreck no.2 - Made by US. Army

Wreck no.2 - Made by US. Army

2003. Steel – concrete. …

Wreck no.2 - Made by US. Army

Wreck no.2 - Made by US. Army

2003. Steel – concrete. …

Anti(fa)-ideological panoptic

Anti(fa)-ideological panoptic

2015. Combined technique.

Antifa-community

Antifa-community

2000 - 2016. Combined technique.…

Stars of extremism

Stars of extremism

2015. Steel. Dimensions: h.30x w.50x…

The touch of God, installation With love accessible

The touch of God, installation With love accessible

Statua Gallery 2016, Bratislava.…

Almost silenced Prometheus (Profetheus)

Almost silenced Prometheus (Profetheus)