KUBAPARIS ATELIER Eliška Konečná
KUBAPARIS ATELIER presents artists and their ateliers from all over the globe. This time you will get a glimpse into the world of artist Eliška Konečná.
Education: Academy of Fine Arts in Prague
Current location: Prague
A work of yours that you particularly like and why?
At present, I especially perceive the work titled “Looking for a Dry Place to Fall.” I think it's because nothing bothers me about this relief; I have no desire to change this work in any way, so I can look at it as an outsider. Having the opportunity to really observe one's work from the outside is a rare moment. So I'm enjoying it for now until it passes.
From which artist would you like to own a work?
At the moment, I would choose Odilon Redon. If I had to be more modest, I would name Max Švabinský and his woodcut entitled "June Noon," but if I had a meadow, I would let the forms by Theo Jansen walk there.
Which art movement has inspired you the most so far?
Rather than art movements, I am more influenced by particular artists. I was deeply affected by the journey of Kazimír Malevich from realistic painting to suprematism back to painting, until he finally abandoned creation itself. Otherwise, I have to admit, and I am aware of the banality of these answers, that so far, I have been most inspired by Symbolism, Impressionism, and by baroque sculpture.
What is your favorite par of your job?
Creating itself, but if the question is which part of creation, then I can’t say for sure, as these feelings change. However, I currently enjoy drawing the most, which by its very nature is a very fast medium. Next to handmade embroidery, it seems the speed is even greater. I guess I like these two positions next to each other. I enjoy slow embroidery after weeks of fast drawing and vice versa. (; You will not enjoy the impression of roundness if you cannot perceive angularity and vice versa;) I describe it as the principle of pickled ginger in Japanese cuisine. It will cleanse your taste buds so you can then enjoy the familiar taste again as for the first time. Which, by the way, is a greatly important principle for me, this rediscovery of something notorious.
What makes something worth making?
I can't be specific in my answer. I would say that every author has to develop the sensitivity to recognize this. At the same time, this feeling is automatically one of the most satisfying, and hence the author must beware of self-deception.