Lukáš Rais
Lukáš Rais is occupied with creating delicate worlds inside the material he works with. Logically and without prejudices, he transforms the raw material into organic compositions, thereby making it possible to understand each individual part in context of the whole composition. Such a system allows him to create objects that appeal both to the observer's interior and to the mind of the artist. It is a very gentle process, despite the works' effect of massiveness, even robustness. Scale, or - in other words - monumentality, may not necessarily be the vehicle of matter, because a fundamental consensus occurs inside the statue itself. The statues created in such a creative process appear forceful and stimulating both to any observer's and the author's understanding.
The highest level of education is usually mentioned on the top of biographies. Lukáš Rais (born 1975) trainee years didn’t heve less importance than his sculpture studies at AAAD though. His knowledge of eletrical engineering, mechanics and technology principles used in the industry became the default plaftorm that defines the whole character of his work.
Rais metal sculpture construction is based on math, geometry and physic rules. A primary idea is followed by calculations, milimeter precision cuts, grindling and polishing. This precise treatment of the material, so its perfect surface coating, are essential. The admitted joints make sophisticated accent. The sculptor fixes the tubes straight as line into wanes, loops and knots by a thoroughy pre-built plan.
The author achieves the perfection in his design creation where the aesthetic form is enhanced by obvious function. Lukáš Rais was nominated for the Czech Grand Design Award 2013 in the Newcomer of the Year category for his Industriality heating sculptures.
Whether Rais sculptures have concrete, thus figurative, or pure geometric abstract form, they are always made of lines expanding into the space. The tubes of various diameters that are de-formed the way they actually deny their original purpose and principles are the basic building block. The sculptor cuts, bends, joints, turns inside out, spreads apart, and reconnects the seemingly indomitable metal in unusual context.
Despite the strict order, sculptures by Rais act organically and dynamically like branches, bird nests or balls of yarn. His sculptures suggest that the hidden, universal order is anchored in seemingly chaotic phenomenos; they indicate the morphologic unity of macro- and microcosm, and remind of united morphology of nature, universe, and the products of human activities.