2019 | 2017 ]

Her installations are situated at a thin line between the public and the private, the monumental and the intimate. She challenges traditionally female, folk techniques and subjects in the confrontation of materials and in the tension between optic and haptic. In the cycle Iron Woman she employs a comic strip technique as a metaphor. She works with historical and personal memory, dream, subconsciousness and viewer´s perception. Instead of imposing her own story upon a viewer, she provides him/her with enough room for own interpretation.

Mgr. art Ivana Sláviková ArtD.
1981 born in Hnúšta, Slovakia (Czechoslovakia)
lives and work in Hnúšťa and Pardubice ( Czech republic)


Main feature of my work, which has been profiled already at the Art Academy, is particular paradox of a form and content or material solution versus reflecting a topic.
Partially women´s strategy I code in a typically men´s medium, I transform it individually into traditional or cultural context.
In my work there is often introspective theme, created in a paradoxical (cold, non personal) form. I do understand art as a tranformation of my own poetics or a style, which could be called experimen-tal or special kind of sculpture.
In my early work I was concerned with ready-made. Static sculptural objects are made as a soft sculture, with a refference to not present body. In my focus to socio-cultural theme of a public private my work has confirmed (post)feminist approach in fine art and also I follow the line of new possibilities in author´s soft sculpture.
Later on I have found my „typical handwriting“ in a technique of broidery in metal (appropriated folklore embroidery), de facto I create author´s wall picture as a paradoxical embroidery. I enter cold metal sheet by traditional X-embroidery stitch. In a field of idea I confront my own (women´s) mythology with sedimented socio-cultural traditions of a local enviroment.
In present times auto-poetical dimension of my work uncovers wider interest of sculptural field itself, I reflect public matter with a private point of view or vice versa. I measure and record the time I live and work in.
Paradox and confict of inconsistency becomes so far essential leitmotif of my work. My new domain is media of photography image and video, in which I use myself both as a subject and object of situa-tional reconstruction. Reading
of mine work is multilayered, based on contrast and paradox of masculine and feminine, high and low, emptied and newly fi lled place as space of collective memory.