REFERENCES

She paints mainly human faces and figures, sometimes he turns and paints animals, a tree or a flower. The faces and figures she paints come to the fore in her paintings with an accent of their outline. They appear in front of the background of the painting according to the author’s intention, completely in the spirit of her idea. These characters and faces are shrouded in mystery, as if time had stopped for them and let them affect us with the nostalgia of their ego. From the paintings of this artist, she often looks down on us personally, balancing inextricably on the border between dream and reality. The phenomenon of the face is an allegorical message in these paintings and is confronted with their inner tension shrouded in mystery. These faces contain long-stored and long-gone experiences, while they are full of inner dreaming and also sadness. Time has stopped in these paintings, the story has stopped, peace and quiet are dominant in this place and raise a question; will these characters wake up once and when? They contain messages of gone hopes and desires, clouded joys, as well as visions of some new future sorrows and losses. Her paintings are silent witnesses to these processes, while resisting together with us and after their indicated negations and situations. They are here, projecting towards our selves, whatever the background environment in the picture, because our destinies are often similar.

Some will say that what they see here is simple and that perhaps he would be able to paint it himself, but he would have to invent these characters first and then experience them as well. Art is also for us to show and set for us in the parable different categories of life in space and time, to reveal with uncertainty and completely under our direction the secrets that we have not yet revealed. We think that discovering is easy, but much harder to see and detect. 

                                                                                                                  Vladimír Procházka