Dučáková avails herself of the entire range of visual possibilities: painting, drawing, photography, collage, digital image, etc. One of the basic strategies of her works involves deformation of the human figure and face. At first sight this approach can resemble an attempt at a traditional expressiveness. However, this is not so in the case of Dučáková. Here, paradoxically, deformation is not used to depict emotional states or even physicality in itself, but more social roles and humankind’s place in today’s world. Dučáková understands contemporary reality as a permeable boundary between the traditional world of fixed shapes and constant symbols and a fluctuating virtuality in which identities are changing constantly. The protagonists in the artist’s works do not only change their costume and spatial context, but even their bodies, which appear like flexible formations that contract in some places and expand in others into monstrous grimaces. The figures are responding to the instability of space-time that surrounds them and to which they must adapt. Flexibility is one of the basic demands of the times we live in, flexibility in the sphere of work, the market, leisure and interpersonal relationships. However, this sleep of rational certainty arouses the beasts of emotion, expression, deformation – deformed heads attempt to smile and the result is simply a mask of pain.
Frolcová Milada: Slovník žáků a absolventů zlínské školy umění a Střední uměleckoprůmyslové školy ve Zlíně a v Uherském Hradišti (1939-2003), Slovácké muzeum, Uherské Hradiště
III. Zlínský salon mladých
Diplomanti AVU 2002
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