4D Schmuck in Vienna

Blog post
Published: 22.09.2013


"4D is an invitation into the fourth dimension"

Alena Hesounová
Lucie Houdková
Karla Olšáková
Kateřina Řezáčová

curated by Petra Matějovičová, Museum of Applied Arts in Prague

Tschechisches Zentrum (Czech Center)
Herrengasse 17
1010 Wien

phone: +43-1-535 23 60

18. September at 7pm 2013

19. September - 31. October 2013

Mon - Wed  10 am-4pm
Thu 10am-6 pm
Fri  10am-3pm

Special open on Saturday 5. October 2013  10am-3pm
+ Workshop during ORF - Langen Nacht der Museen 2013 on 7.30-9 pm

4D exhibition is held as part of Vienna Design Week (27. September - 6. October 2013)

© Text by curator Petra Matějovičová
English translation: Derek and Marzia Paton

What is 4D? Or perhaps we should ask what are 4D? The project is, first and foremost, an invitation to the fourth dimension. Behind it are four young women, graduates of the Academy of Arts, Architecture, and Design in Prague: Alena Hesounová, Lucie Houdková, Karla Olšáková, and Kateřina Řezáčová. They have been exhibiting together for several years now. They create unique objects to wear, which look equally good on the human body or displayed in space. The emphasized structure of each of these objects always stems from a specific source of inspiration. It is a record of the motion of organic substances and human thought. The objects of 4D, which can be held in the palm of your hand, ask to be touched. They invite you to play with them, to interact directly with them in the role of viewers and wearers. The impulse behind their having been made might be melancholy, even despair, but the works themselves stand out for their friendly tone and specifically female tenderness. Their apparently fragile, almost immaterial, form astonishes us with its energy.

Alena Hesounová: The Passiflora collection

In her work, Alena starts from the surface. She works directly in the material, sheet metal which has been cut through. By being deformed, doubled, and interpenetrated, new three-dimensional objects emerge with a light and thus all the more effective asymmetry. For the shapes and effect of her Impress collection (her final-year project at art college in 2011), Alena sought inspiration in the ground plans of twentieth and twenty-first-century church architecture. These spaces of introspection and encounter, designed by architects in a two-dimensional medium, have in Alena’s hands been transformed into small vessels, something like space-age arks. The objects of the current collection, called Passiflora, also have a meditative quality. This time, Alena was inspired by the movement of flowers, which open and then close again. She has transferred them to transparent compositions with a dynamic charge. The power also comes from within, from the concentrated ‘sulek-burcu-emptiness-2015’ which is embraced by their subtle little arms.

Lucie Houdková: The Bondage collection

Lucie is an artist who is fascinated with the search for the basic structures of life and their aestheticization, which was typical of the illustrated scientific publications of the nineteenth century. In her Depth collection (made as her final-year project at art college in 2010), she drew primarily on the work of the biologist Ernst Heinrich Haeckel, who turned the attention of Western civilization to a hitherto almost unknown world of miniature creatures on the bottom of the sea. The desire of those days to discover the principle of living matter, which would be as beautiful as it is functional, comports with the fundamental idea of artistic creation. Lucie has gone further. With her kinetic objects, which undulate like the branches of coral polyps, she has paid tribute not only to the diversity of the universe, but also to jewellery’s power to enliven the human body. In the new collection, Bondage, the hitherto ethereal conception of Lucie’s objects has completely retreated from the clash of forces. Proliferating, bulging forms, cast in synthetic rubber, are tightly bound by a tissue of textile. The freely hanging ends of threads intensify the electrifying effect of the whole and its surreal tone.

Karla Olšáková: The New Breath collection

In the current form of the 4D project, Karla defends the architectural quality of art jewellery. The building blocks of her subtle works are often clearly defined stereometric forms. From them she builds either fixed compositions, whose movement is generated by the body of the person who wears them, or constructions that are kinetic from their very foundations. The jewellery, which at first sight appears to be logically assembled from repeating elements, gains a strongly sensed irrational quality thanks to the infinite variability of its appearances. This potential is the artist’s entry into an intense dialogue between herself and the wearers of the pieces. As a springboard to her collection What I Found behind the Looking Glass (which she made as her final-year project at art college in 2011), Karla was inspired to use her own experience of the remarkable stories of Lewis Carroll. Abstract objects as bare, apparently simple, and clear principles of composition were evidence that a mysterious sequence of events could be made material with the same urgency even without figurative means. Rational structure becomes the entrance ticket into a world of fantasy also in her current collection, A New Breath, in which Karla accentuates the tension between the outer and the inner profiles of the objects. She thus encounters the exciting connection between the world around us and in us, the macrocosm and the microcosm, the visible and the hidden.

Kateřina Řezáčová: The Layva collection

For some time now, Kateřina has been working with the theme of layering. In her jewellery, bordering on concrete poetry, open to all the senses, the series of layers expresses the passage of sound and the dynamics of a musical composition or the human voice. For her objects from layered curves derived from demographic data, she chose a different principle of thematizing time. She invested her own feelings and viewpoints into the work of her Graphellery collection (made as her final-year project at art college in 2010), both in her choice of input data and in the way she has reshaped them. The current collection, Layva, raises its artist’s personal formula to an even higher level by including real movement. The pendent objects of thin layers, which do not fit tightly against each other, are held together by drawstrings that can be tightened or loosened at will. Using means worthy of Constructivism, Kateřina has made jewellery of abstract shapes, yet with the character of beings. The transformations of forms bring to mind the fidgeting and restlessness intrinsic to everything that is alive.

from the opening - foreword by director of Czech Center in Vienna - Martin Krafl

music by Flöttenensemble Querart from Vienna

from the opening - artists discus with visitors

curator Petra Matějovičová with Josef Symon

artists with Veronika Schwarzinger V&V Gallery

installation view

installation view


About the author

Jirí Šibor, 1966 Brno, Czechoslovakia. Since 1990 exhibited abroad and home, occupy mind by theme "Cold Connected Constructions" in jewelry; occasionally graphic designer, sculptor, curator of exhibitions and correspondent.

About this blog

Czech Jewelry : past and present of innovative jewelry.