Erika Bornová

The artist’s starting point is classic figural statuary. This platform has been, however, transformed thanks to material, measuring and thematic shifts. The artist works mainly with a figural „type“ and not with concrete shapes or individuality. Her figures are characterised by their clothing and their stances (but still those of statue type). There is no individual expression present here, no one defined basis of feeling or singular gesture. The character is displayed on the basis of generality that emphasises the chosen measure of the moment and reduction of movement. Concrete features are limited by possibilities for processing non-traditional material – polystyrene. This material eliminates details and personal approach to textural qualities. The figures are non-personal, general, as if frozen in definite poses. This freezing in stone plays out however in synthetic material. It is thus a version of classicism enabled by modern industry and technology. This pose is also not traditional in the sense of marked gestures recalling emotional or thought trends. This is a rather mundane approach, as if cut out from commercial ad pictures. The significant size of the figures indicates the burden that paradoxically is missing here. Ms. Bornová leaves the surface of the material in its natural white state or covers it with paint or other materials (fish scales, etc.).

The material however is at least partially accepted and conspicuously display in the viewer’s gaze. The artist’s works are most noticeable by their absence of detail. They are an alternative to the course of modern culture, a course that is obsessively self-absorbed in diverse details, cuts and exaggerations that appear in the broad field between utilitarian, popular and artistic representations. The artist, by reducing the close-up view, returns to pre-modern strategies, mainly those classicising character (as indicated by the meaning of white colour). The marked volume of the figures, contemplation of mass, and super-individual traits help make this strategy effective. Meanwhile the story takes place in the realm of fantasy, desire and dream. The artificial world and dream join together here in oneness, commenting on the nature of consumer culture.

Ceiling of the Sparkys House of Toys, Prague

Marta Smolíková: Erika Bornová - Paintings and Sculptures:

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