Stored, conserved biotopes. The collection is an expression of the possibility of value. Each collection finds its passionate collector in a certain point of time. The object thus becomes a dialogue with the absent.
Technique: perforated paper, mixmedia
Material: paper, plexiglass
Year: 2015 -2018
Dimensions: 100cm Ø 15 cm
Weight: 1,2 kg
Stored, conserved biotopes. The collection is an expression of the possibility of value. Each collection finds its passionate collector
in a certain point of time. The object thus becomes a dialogue with the absent.
Technique: perforated paper, mixmedia
Material: paper, plexiglass
Year: 2015 -2018
Dimensions: 100cm Ø 15 cm
Weight: 1,2 kg
In its essence, the bark shows certain characteristics of a shell in the sense of protection. In its material form it symbolizes superficiality.
Interesting things are often happening under the surface. The object is therefore equally active en face as well as in both profiles.
Technique: perforated carved paper
Material: paper, plywood, plexiglass
Year: 2018
Dimensions: 80,5cm x 30,5cm x 25,5cm
Weight: 4,3 kg
The word samorost / samorast in Czech and Slovak is used for both drift wood and maverick. It describes a product of nature which under
certain conditions shapes itself and it is also used to characterize a man who breaks tradition and convention. The differences attracting attention offer innovative solutions and a distinct view of the world. Samorost is hiding a biotope, representing a living environment for the existence of the given topic. When the content is gone the shell becomes a biotope itself. Because it opens a space for imagination associated with a question for what/to whom it served.
Technique: perforated carved paper
Material: paper, plywood, plexiglass
Year: 2017 -2018
Dimensions: 100,5cm x 31,5cm x 25,5cm
Weight: 5,2 kg
Expresses the end of stagnation. The constant, seemingly invisible movement/relocation of substance – in our case thoughts – causes the fundamental change of structures, disintegration of the original solution. Erosion is layering of impulses that together form a story.
Technique: perforated carved paper
Materials: paper, plywood, plexiglass
Year: 2015 -2018
Dimension: 71,5cm x 49,5cm x 15,5cm
Weight: 9,1 kg
Search for identity. The extent of secrets that is hidden in corners opens many questions associated with thinking about history and origins of
one’s own ego. Roots with their rooting and expansion, difficult to trace, epitomize freedom on the background of history.
Technique: perforated carved paper
Materials: paper, plywood, plexiglass
Year: 2017 -2018
Dimensions: 100,7cm x 31cm x 20,5cm
Weight: 4,6 kg
Fossils impersonate the revealed evidence of time being stopped. Material evidence contain the need of empathy to put oneself in the place of the being that has left this trace. The processes taking place in the mental level of stopped time represent a story of a thought stopped in time that can or cannot be defined with an item.
Technique: perforated carved paper
Material: paper, plywood, plexiglass
Year: 2018
Dimension: 75,5cm x 30,5 cm x 20,5
Weight: 3,5 kg
Abandoned home at first impression evokes a certain feeling of undefinable sadness and nostalgia. But it can be perceived as a biotope where conditions for the existence of individuals were born. Those individuals left traces in its interiors. The original home that we naturally leave as a part of evolution in time changes into memories. We like to preserve these memories under ideal conditions.
Technique: perforated carved paper
Materials: paper, plywood, plexiglass
Year: 2018
Dimensions: 80,5cm x 50,5 cm x 15,5
Weight: 4,6 kg
Removing layers of wrapping will expose an unexpected territory. Layers that are protecting but also hiding secrets and mystery. Deeper observation, analysis of the environment of one’s own mind can reveal the core of the matter.
Technique: perforated carved paper
Materials: paper, plywood, plexiglass
Year: 2018
Dimensions: 50,5 cm x 30,5 cm x 15,5 cm
Weight: 2,2 kg
Sediment is an incarnation of the utmost elementary importance. It is a residue that emerges only when the unimportant vanishes.
Technique: perforated textile
Material: textile, plywood, plexiglass
Year: 2018
Dimensions: 40,5 cm x 40,7 cm x 15,5 cm
Weight: 2,3 kg
Whirl with its revolving movement brings drama into the serene existence. It is an impulse in the sense of a biotope. It creates numerous hideaways. The whirl trapped in geometrically pure form is an expression of an idea = captured thought. A minute word that brings forth a whole story.
Technique: perforated carved paper
Material: paper, plywood, plexiglass
Year: 2018
Dimension: 40,5 cm x 40,7 cm x 15,5 cm
Weight 2,3 kg
Waves characterize movement. They are the environment, breeding ground for lights casting shadows in the sense of a biotope. Moving shadows create a drawing that is constantly changing. Thus, the seemingly static object becomes a living organism.
Technique: perforated carved paper
Material: paper, playwood, plexiglass
Year: 2018
Dimensions: 80,5cm x 30,5cm x 12,5cm
Weight: 3.2 kg
The black hole is a materialization of ideas that are forgotten. But the unused ideas are part of the colourful composition of vibrating impulses.
Technique: perforated carved paper
Materials: paper, plywood, plexiglass
Year: 2017 -2018
Dimensions: 72,8cm x 52,7,5cm x 15,5cm
Weight: 4,4 kg
Sculptures made of technical porcelain fired at 1380°C in tunnel furnaces in Louny and Merklín, or of two different materials: porcelain and paper. Porcelain acts with hardness and cold, paper contrasts with liveliness and playfulness.
Sculptures are molded freely without using forms.
The hand-made book with Japanese binding (by Lyske Gais) contains original drawings by Machteld Aardse (artist) and ‘semi-silkscreened’ poems (by SdC). It is about love and mourning; maybe it is about you.
In this book the back of the drawing is as important as the front. The hidden which is seen at first sight, is part of the other side, the story seen as clear. The layers all together share the performed vulnerability of a life story.
The hand-made book with Japanese binding (by Lyske Gais) contains original drawings by Machteld Aardse (artist) and ‘semi-silkscreened’ poems (by SdC). It is about love and mourning; maybe it is about you.
In this book the back of the drawing is as important as the front. The hidden which is seen at first sight, is part of the other side, the story seen as clear. The layers all together share the performed vulnerability of a life story.
The hand-made book with Japanese binding (by Lyske Gais) contains original drawings by Machteld Aardse (artist) and ‘semi-silkscreened’ poems (by SdC). It is about love and mourning; maybe it is about you.
In this book the back of the drawing is as important as the front. The hidden which is seen at first sight, is part of the other side, the story seen as clear. The layers all together share the performed vulnerability of a life story.
The hand-made book with Japanese binding (by Lyske Gais) contains original drawings by Machteld Aardse (artist) and ‘semi-silkscreened’ poems (by SdC). It is about love and mourning; maybe it is about you.
In this book the back of the drawing is as important as the front. The hidden which is seen at first sight, is part of the other side, the story seen as clear. The layers all together share the performed vulnerability of a life story.
The hand-made book with Japanese binding (by Lyske Gais) contains original drawings by Machteld Aardse (artist) and ‘semi-silkscreened’ poems (by SdC). It is about love and mourning; maybe it is about you.
In this book the back of the drawing is as important as the front. The hidden which is seen at first sight, is part of the other side, the story seen as clear. The layers all together share the performed vulnerability of a life story.
The hand-made book with Japanese binding (by Lyske Gais) contains original drawings by Machteld Aardse (artist) and ‘semi-silkscreened’ poems (by SdC). It is about love and mourning; maybe it is about you.
In this book the back of the drawing is as important as the front. The hidden which is seen at first sight, is part of the other side, the story seen as clear. The layers all together share the performed vulnerability of a life story.
The hand-made book with Japanese binding (by Lyske Gais) contains original drawings by Machteld Aardse (artist) and ‘semi-silkscreened’ poems (by SdC). It is about love and mourning; maybe it is about you.
In this book the back of the drawing is as important as the front. The hidden which is seen at first sight, is part of the other side, the story seen as clear. The layers all together share the performed vulnerability of a life story.
The hand-made book with Japanese binding (by Lyske Gais) contains original drawings by Machteld Aardse (artist) and ‘semi-silkscreened’ poems (by SdC). It is about love and mourning; maybe it is about you.
In this book the back of the drawing is as important as the front. The hidden which is seen at first sight, is part of the other side, the story seen as clear. The layers all together share the performed vulnerability of a life story.
The hand-made book with Japanese binding (by Lyske Gais) contains original drawings by Machteld Aardse (artist) and ‘semi-silkscreened’ poems (by SdC). It is about love and mourning; maybe it is about you.
In this book the back of the drawing is as important as the front. The hidden which is seen at first sight, is part of the other side, the story seen as clear. The layers all together share the performed vulnerability of a life story.
Bronze sculpture originated in 2011.
“An apple is said to be the beginning of all. The apple, not only as a symbol, is following a human from the very begging of his history. Tearing the apple off the Tree of Knowledge of Good an Evil forms the base for the original sin.
I have tried to actualize the primordial idea of denying something extraordinary though the human soft spot for desserts and sweets, as nowadays they seem to represent the literal essence of forbidden fruit for a lot of people. The apple was the first to be served, and desserts and sweets are served as the last course. I have joined these two aspects into one piece. The shape of the apple is made up of hundreds of paper cups that are usually used for serving both sweets and desserts and have a particular shaping potential. I’ve chosen this shape also because of the simplicity of its form. The sign is recognizable and legible to everyone.”
“The Sea is a high artistic quality print – based on a scan of a drawing for an animation. Good news: the sea will be published in a book and shown in an exhibition in the Spring of 2018 in Helmond, the Netherlands.
The sea at night, with the infinite movement of luminous foam heads against a deep black sky. I took this picture of a sea from Senegal as a starting point for a drawn animation. I used an erasure-drawing-scan technique to suggest motion. I needed two sheets of paper and 450 drawings to make the animated animation. I draw with charcoal and pastel chalk on 1 sheet of solid paper and scan the drawing; I erase and draw the next step of the wave motion, then erase, draw and scan again.”
“The Sea is a high artistic quality print – based on a scan of a drawing for an animation. Good news: the sea will be published in a book and shown in an exhibition in the Spring of 2018 in Helmond, the Netherlands.
The sea at night, with the infinite movement of luminous foam heads against a deep black sky. I took this picture of a sea from Senegal as a starting point for a drawn animation. I used an erasure-drawing-scan technique to suggest motion. I needed two sheets of paper and 450 drawings to make the animated animation. I draw with charcoal and pastel chalk on 1 sheet of solid paper and scan the drawing; I erase and draw the next step of the wave motion, then erase, draw and scan again.”
“The Sea is a high artistic quality print – based on a scan of a drawing for an animation. Good news: the sea will be published in a book and shown in an exhibition in the Spring of 2018 in Helmond, the Netherlands.
The sea at night, with the infinite movement of luminous foam heads against a deep black sky. I took this picture of a sea from Senegal as a starting point for a drawn animation. I used an erasure-drawing-scan technique to suggest motion. I needed two sheets of paper and 450 drawings to make the animated animation. I draw with charcoal and pastel chalk on 1 sheet of solid paper and scan the drawing; I erase and draw the next step of the wave motion, then erase, draw and scan again.”
“The Sea is a high artistic quality print – based on a scan of a drawing for an animation. Good news: the sea will be published in a book and shown in an exhibition in the Spring of 2018 in Helmond, the Netherlands.
The sea at night, with the infinite movement of luminous foam heads against a deep black sky. I took this picture of a sea from Senegal as a starting point for a drawn animation. I used an erasure-drawing-scan technique to suggest motion. I needed two sheets of paper and 450 drawings to make the animated animation. I draw with charcoal and pastel chalk on 1 sheet of solid paper and scan the drawing; I erase and draw the next step of the wave motion, then erase, draw and scan again.”
“The Sea is a high artistic quality print – based on a scan of a drawing for an animation. Good news: the sea will be published in a book and shown in an exhibition in the Spring of 2018 in Helmond, the Netherlands.
The sea at night, with the infinite movement of luminous foam heads against a deep black sky. I took this picture of a sea from Senegal as a starting point for a drawn animation. I used an erasure-drawing-scan technique to suggest motion. I needed two sheets of paper and 450 drawings to make the animated animation. I draw with charcoal and pastel chalk on 1 sheet of solid paper and scan the drawing; I erase and draw the next step of the wave motion, then erase, draw and scan again.”
“The Sea is a high artistic quality print – based on a scan of a drawing for an animation. Good news: the sea will be published in a book and shown in an exhibition in the Spring of 2018 in Helmond, the Netherlands.
The sea at night, with the infinite movement of luminous foam heads against a deep black sky. I took this picture of a sea from Senegal as a starting point for a drawn animation. I used an erasure-drawing-scan technique to suggest motion. I needed two sheets of paper and 450 drawings to make the animated animation. I draw with charcoal and pastel chalk on 1 sheet of solid paper and scan the drawing; I erase and draw the next step of the wave motion, then erase, draw and scan again.”