Neon Brno was founded in 2008 mainly for personal reasons. The name of the Moravian metropolis is treated here as a neon sign, which by its materiality may refer to the functionalist tradition of Brno, when neon became an important part of architecture corresponding to the ethos of modernity. A glowing sign can be perceived as a logotype (marketing brand) or a shining star. Another layer of this work is a reference to a strong Brno conceptual art scene whose creation is based on formal reduction and work with text. The work is a tribute to a given geographical and cultural territory, but deliberately in a chamber format.
Portfolio Category: Exposure
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It is unspoken
The text is a compilation of snippets of my conversations with the chatbot Mitsuku. It's a very smart chatbot, much smarter than the others I've interacted with. I talked to it (him, or her?) about various topics, such as mortality, voluntary death, crime and punishment, my exhibition, dark matter, artificial intelligence. The conversation has the correct sentence structure, but the meaning of the message did not make complete sense. Bot did not understand poetic turns, similes, sayings. The meta-communication framework, thus the inherent human creativity, is missing from the conversation.
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Digital Exchange
Digital Exchange is a participatory project of the sculpture studio FaVU in Brno and the art school SVA New York. During the annual cycle, students and educators meet in a dialogue of art through the virtual world and digital tools that are able to bridge the distance of cultures and oceans. The rules of this dialogue change from year to year, but the idea of one sculpture at one time by several authors and in several places remains. On the Prototype, a selection from the project is presented in the form of augmented reality with the help of the Konica Minolta GenARate application.
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Locomotive, Chemical generation, Broken spine, Module 1, Signal
Man is a hopeless animal trapped in the clutches of his time. A domesticated being in the hands of modern technology, which I perceive as enforcers of our humanity. I see this process as an inevitable conflict of illusion with reality. In my work I penetrate into a world defined by lines and strict shapes. I touch on the topics of civilization and technology, whose basic building element is geometry. Only she has the power to terrorize by her inhumanity and at the same time to overwhelm us with careful systematicity and order.
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Toroid, Module 3, Emitter
Toroid, Modul 3, Zářič, 3D tisk – ABS plast, nerezová ocel, motor, 2016 – 2018
V sérii Gear – kinetických sochařských objektů se zaměřuji na objevování krásy ozubených kol a jejich soukolí. Vedle své estetické hodnoty přináší ozubené kolo přenos pohybové energie od motoru k ostatním částem objektu. Výsledkem je socha – technicistní organismus oživený pohybem v celém svém objemu. Digitální navrhování spolu s 3D tiskem mi umožňuje tvorbu přesných částí, nezbytných pro výslednou funkčnost celého objektu. -
Bilance
The object balances between sculpture, musical instrument and metaphorical symbols. For many, glass means fragility and instability, while the truth is the opposite. "Balance" overturns our experience with the material and points to new directions of use. The tension between the glasses and the strings can be felt by sight and heard at the same time when we play the strings. The glass panes here function as a sounding board, or sound box. The strings are in contact with the edges and transmit vibrations, which are subsequently amplified and at the same time guided by contact microphones into the speaker.
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Soil choir v.0.2
/poly/interaktivní zvuková instalace
Materiály: hlína, ocel, plexisklo, led, kapacitní senzory, reproduktory Bela, Supercollider
Princip: Tři senzory měří vlhkost v různých hloubkách v metrových sloupcích hlíny. Získaná data řídí rychlost pulzace a další parametry digitálně generovaného zvuku, který zní z každého objektu. Vzniká vícehlasý, v prostoru strukturovaný polyrytmus, který se mění v závislosti na změnách vlh-kosti půdy.
Sonifikace přírodních půdních procesů testuje hranice naší pozornosti, trpělivosti a chuti ještě vnímat ultra-pomalé reakce a zkoumá mechanismy naší adaptace…
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5 minutes
The project is dedicated to Ukrainian soldiers and veterans from the ATO zone. There are videos and photo reportages from the front. I’ve tried something new – a 3D war reportage. I asked the soldiers to stand motionless for “5 minutes” to scan their figures and portraits. First reports from the battlefield contained names; after that, it’s only numbers. This and that many casualties, this and that many survivors who came back. For me, soldiers are not numbers. My aim was to add faces to the numbers.
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Twins, Tomato hybrid II., Pear
Twins
Using a 3D scanner, I scanned the gourd, which I adjusted to the required shape by deforming it in a 3D program. This was followed by modeling the organic structure on the surface of the object and creating the resulting composition, and then enlarging the object to a real scale and cutting it into individual printable parts depending on the size of the printing pad. Everything was precisely described and marked, because there were 360 parts for the final realization. It took one year to print all the parts. Individual connections are reinforced with metal pins. The last stage was the so-called postprocessing – sanding, sealing and spraying the final color.
Tomato hybrid II.
The inspiration for this object was a tomato that grew in our garden. It was a fleshy Brutus that was scanned and then modified in the computer where the polygons were reduced. Then I mapped a painting by expressionist painter France Marc onto the object. The intention was to express expression and color with a given interplay of inspirational sources. The virtual object was cut into 750 parts, which were printed in a 3D printer using colored strings. This was followed by folding and gluing and postprocessing (sanding, sealing, reinforcement). The whole process took a little over half a year.
Pear
It is based on a scanned dried pear fruit. The data was subsequently modified in the computer – the polygonal network was significantly reduced. The result was openwork shapes, which in their final form have a cubist impression. The color of the object was generated by the object texture program and the individual colors were printed directly from the color strings. This was followed by the gluing of individual parts and post-processing (grinding and filling with a 3D pen). The object was printed from 397 parts and was created for about half a year.
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Lunalón
Thanks Brno Observatory and Planetarium and VISUAL bude Měsíc i na našem festivalu!
Podklady pro model Lunalon (b. 2019) created the Lunar Reconnaissance Orbiter probe, which since 2009 has been mapping our space neighbor from its orbit with a resolution of 100 meters, including images of selected areas with details as small as 50 cm. The print of the Lunalón is so perfect that from a greater distance it resembles a real satellite. After all, if you wanted to see Lunalon as small as the Moon in the Earth's sky, you would have to move more than 1 kilometer away from it.