Inge Kosková

Everything is interconnected

mind with memories
life with breathing and breath with nature
my being with people and drawing
...

(IK, 1999)

During the time of Postmodernism, changes in the way of thinking took place simultaneously with a large dispersion in the choice of the media of expression within the artistic circles. The penetrability of information was not quite smooth and a number of artists lost the solid ground under their feet from the disturbance of media continuity.  Inge Kosková did not allow herself to get agitated with this situation and, on the contrary, she pragmatically chose as her language one the most cardinal media – drawing. Since the 1980s this inexpensive and direct medium became her media for the recording of her own mind.

Concentrating on one way of expression reflected also in the form of recording. Ink drawings on paper are the result, as well as the process of her life work, which has introspective character. Reflected in them is also her western experience with eastern spiritual teaching. Inge Kosková belongs among artists who continue in the course begun by John Cage in the sense of including emptiness in the perceived whole of an artwork. She likes the white surface of paper, which she labels as white silence. Her drawings rarely cover the majority of the paper surface. The initial Czech artists working with the parallel of recording sound with a drawing were Olga Karlíková and Milan Grygar. Inge Kosková interpreted sound with a drawing while listening to the compositions of Leoš Janáček. Another stream of her drawing record is the associative transfer of drawing to breath. The energy recorded into rhythm brings an expression to sketchiness, which appears in her texts as well as drawings. Another position is represented in her peaceful mantric lines, which are similar to the meditative drawings of Jiří Kornatovský. In 1987 Jiří Valoch compared Inge Kosková’s concentrated strokes to the work of Miroslav Šnajdr. In her principal analogies we can see the effort to capture the truth in an authentic concentrated stroke, which is close to calligraphy. In the mid 1990s in her cycle The Body’s Feelings, she inscribed being into the movement of a line. With her love for silence she adhered to unexposed artists modestly revealing their own research of being. Geographically she belongs among the circle of Olomouc artists such as Václav Stratil, Miroslav Šnajdr, Bronislava Šnajdrová, Jan Krtička, Petr Jochman or Ladislav Daněk.

V oblasti užitého umění realizovala návrhy na plakáty, knižní obálky, příležitosně se věnovala artprotisům.

2010 Inge Kosková: Kresby tuší, Inge Kosková: Kresby 2003 Inge Kosková: Kresby 2000 Inge Kosková: Kresby / Záznamy tělesných energií Inge Kosková: Kresby 1998 Inge Kosková: Kresby 1997 Inge Kosková: V rytmech dechu a moře, kresby z posledních let 1996 Inge Kosková: Kresby z posledních let 1995 Inge Kosková: Kresby 1990 Inge Kosková: Kresby 1989 Inge Kosková 1987 Inge Kosková: Kresby 1985 Inge Kosková: Kresby 1970 Inge Kosková: Obrazy a grafika,

2014 Kosková a Janáček, Art + Antiques 2010 Valoch Jiří , Asi před deseti lety... / It was about ten years ago..., Inge Kosková: Kresby