invisible dimensions- trace the space

anna-maria bogner /1984/ & karel štědrý /1985/

The shared exhibition space at Galerie Závodný in Mikulov set the stage for a dialogue between two creative artists, Karel Štědrý (born 1985) and Anna-Marie Bogner (born 1984).

The framework of their creative communication was shaped by the architecture of the building itself, which became the starting point for Anna-Marie Bogner's large-scale installation. Her spatial "drawing" boldly connects both floors of the structure, with the subtle outline of two levitating and intersecting triangles suggesting surfaces that can only be intuited in the minimalist interior.

This results in an unique deconstruction of the actual building, creating a new spatial dimension within its depths.

Karel Štědrý extends this spatial illusion with his paintings and charcoal drawings. The theme of deconstructing the artwork surface is one of the motifs he has been intensely exploring in recent years. Thanks to his elaborate methodology and acquired experience, he is able to enhance the plasticity of his paintings and amplify the impression of depth. In the inner space of the picture, he creates sharp divisions and breaks that border on emptiness—areas where the drawing or painting is erased, leaving blank spaces on the canvas.

The artwork acts as a labyrinth, where one could easily get lost in its corners, or conversely, discover new and unexplored spaces. The journey to these unexplored spaces is full of adventure and tension.

Štědrý, like Bogner, works with geometric vocabulary. It is interesting to observe how differently both authors think about the given task. Bogner sophisticatedly, precisely, and economically explores the relationship between space and artwork. During the in situ installation, this relationship becomes a primary factor, determining fundamental directions, axes, and connections of stretched lines, influencing the final visual outcome of the installation. Her expressive means are in a sence minimalist and straightforward. Štědrý also explores the mutual relationship between space and artifact but approaches it with spontaneity, dynamism, and a certain sensitivity, which can also be seen in the drawing technique he often employs.

Perhaps it is their different approaches that enable both artists to engage in an intense and lively collaboration, while also granting each participant the space to maintain continuity in their own work. This is a fact that I greatly appreciate. In their collaboration with each other works, the artists can only guide and adjust the flow of their thoughts, respond to subtle prompts and changes, while their work remains firmly rooted in a system that is unique to each of them.