Monika Žáková creates her works with absolutely precise skill, which reflects her desire for the unambiguous fulfilment of formal perfection.
Monika Žáková creates her works with absolutely precise skill, which reflects her desire for the unambiguous fulfilment of formal perfection.
She transforms monochrome images and assembles them in the form of an illusory refraction of matter and colour. The surface texture of her artwork points to the artist’s methodical approach, where the intentional, formally systematic visual comprehension of the image is accompanied by an emotional level, often expressed in colours that substitute for aspects of brightness, such as light and shadow. The arranged abstractions that leave a distinctly minimalist impression resign themselves to descriptiveness, subject or theme, and confront the forms of the binary understanding of our immediate world. She is interested in a rhythm in which, within her own process and with the help of gravity, she leaves a lot of room for coincidence, thus disrupting the alliterative forms like errors that we do not have to understand but only perceive.
She is attracted to beauty itself, which contains an element of imperfection as well as ambiguity in its content. Art has always been dependent on the current state of science and philosophy. The relativization of the independent existence of reality and its dependence on human perception is the result of the principle of the nonlinearity of logic. As the artist herself claims, the motif of folding reflects the quality of mutually valid and coexisting spaces, which deny hierarchical reading and standard categories of evaluation. She explores the boundaries between surface and space, image and object within the act of creation. It seems that the artist is consciously and in a distinctive way examining the boundaries of the inner space of her own being and corporeality as a certain testimony in the form of a fragile place of intimacy. The position of an individual in creation is a form of security, and one of the possible parameters anchoring them in the world, when the boundaries of the individual consist chiefly of language as a means of expression. In open communication, we discover new content through visuality and observe the emergence of shapes that suggest the latent meaning of artworks hidden in different planes, surfaces or fractures. Understanding increases with a degree of sensitivity to what is suspected, which we cannot understand but only describe. It differentiates the spatial dimension by changing its shape, shifting the boundaries of the image at different depths through a formal action. The emerging object is an entity with its own rhythm and light, where movement is the main stimulus triggering the viewer's attention and the overall rhythm corresponds to the dynamics of the whole. The artist thus proceeds to shape the structure of the work in her own sensitive way. However, the viewer’s participation in the compositions excludes the possibility of perceiving them as illusory spaces. We are forced to look at them as mental maps with many variables, all with the validity of mutually non-exclusive categories.