Monika Hniková↓

About the work

… And so I abandon the engines and, instead, set off to a forest which is cool, but not too much. And there is silence, and I scream once in a while, but I am the only one to hear it.

The pure awareness of fulfillment. Gradual recognition generates a specific value of properties. It is a value that becomes something held by an individual for a long time. It is an individual value that forms part of the exploration process. The process of accepting the conditions of consciousness; the conditions of the environment; the conditions in which we find ourselves; the conditions we set up around us. Here, artists understand some phenomena that are intrinsic to them, and allow others to understand them through their work.

I view a painting that employs used oil as an object. And although it is an act of painting, it becomes a single and self-contained object to me upon completion. Here, painting is something that constantly changes and never withers. In art, it is not the object of our observation but our view of it that changes. The painting and our view change. Variability as such is innate, natural, and mundane. I paint clouds which are a mutable flesh. When I paint clouds, they do not longer exist at the given moment or have already gone elsewhere and thus, in my view, cannot be painted at all. It is therefore a process of examining the exact – solely for some time, and it depends on our ability to record this at a given time. And in the given moment, the process of being fascinated with crowds turns into the fascination by expressing oneself via specific forms. There comes a holy harvest and a moment of “being filled up.” The subject in the work is now the matrix. For me, this is a selected form, natural to my environment.

The best way to express everything that can be expressed by painting is painting. Sculpture in the true sense of the word is just what can only be expressed by a sculpture. There comes the understanding to find what cannot be expressed in any other way. A self-contained sculpture is the one that leads to dead center. Machines have two dead centers, the upper and lower ones; it is the end point of the piston trajectory. The engine component, too, is the form of various parts. Although these may be fixed points at the base that do not seem to change, their natural subtle nuances or the influence of changes in the conditions or time result in their natural change-–variability. My aim is to capture the changes of a given mass stored in parts. It is pretty florid. It is a kind examining the moment, a passing while, for a given particular reality of a manufactured engine. A reality that transforms and changes and passes within itself.