ARTIST PROFILE

Pavlína Hlavsová

  • Czech Republic (b. 1988 in Rožnov pod radhoštěm)
  • Currently in Prague, Czech Republic.
Dematerialization

Dematerialization

  • 2013

  • Pavlina hlavsova  20 c2 a9 2013 utrecht temporary objects 20(1)
  • Pavlina hlavsova  20 c2 a9 2013 utrecht temporary objects 20(2)
  • Pavlina hlavsova  20 c2 a9 2013 utrecht temporary objects 20(3)
  • pyramids - paper - thumbnail pyramids - grass - thumbnail Dematerialization - thumbnail

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    UTRECHT | 2013

1. Imperceptible Interventions in Places I Visited. This is a collection of photographs, documenting small interventions in various places I visited near the Dutch city of Utrecht. The genesis of this series lay in completely freeing myself from traditional materials, using the minimum a given place offered. An essential thought behind my spontaneous “mapping” came from an awareness of the value of a moment and depicting this transience. What will disappear within moments, only survives as an image on a photograph. I didn’t expect much, didn’t actually expect anything at all. Yet with increasing time, the series feels comprehensive and at the moment it’s becoming a permanent and personal visual diary of the Dutch landscape.--------------------------------------------------------------------------------------------------------------------------------------------- 2. Elemental Objects Materialization / Dematerialization. Space as architecture –as color –as a natural impression – space limited by its dimensions. I wanted to take tree bark as an organic and natural component, submit it to rules and transform its natural form into a solid whole. Provide an internal order with the goal of obtaining a perfect external surface, achieved by both systematic and precise composition. I formed the objects from their most basic geometric context to contrast against the organic form of nature. My feelings from these created and existing forms were in no way satisfactory and necessary needed to give them a new intent beyond their existing one. They must disappear. The ritual of destruction, the dance around a fire familiar from primitive nations, brought me relief in this case. This is a very specific matter closely tied with the given situation – a justification found in a specific place and a specific time. It may now appear foggy and less clear. For me, the entire process and the final event have meaning far beyond formal, because the purpose is not in the output, the material in space, but in the process or a very intimate experience that cannot be understood otherwise.