Pavlína Kvita

Personal mythology, symbolism of the inner world, regularity of polarities, thematization of movement, significance, respect for the aesthetic level of expression, interface between organic and cold technical form, purity of shape, model, crystal, concrete - all these expressions can give the idea of the basic framework of the contemporary art manuscript of Pavlina Kvita.

Her early interest in structure of the metropolitan space, in the post-landscape for a time, was replaced by a figural nature bearing the character of futuristic movement phasing. Today in the author's works we encounter a specific mythological anthropomorphic organicity. Behind the changes and diversity of these expressive and thematic forms, we sense the longer-term effect of the author's thematic intention.

From numerous statues and buildings by Pavlína Kvita, we see a conscious treatment of the principle of movement and a wide range of diverse possibilities for its transformation. We find work

with shape metamorphosis, cyclical alternation of polar states (day / night - Sun & Moon, 2019;

reality / dream; good / evil) or, for example, reciprocity and interconnection of individual basic

elements (Elements, 2020). The moment of transformation can be seen in the continuous permeability between motionless architecture and the animal figure (Altar, 2014 - Animal, 2021 / Manyleg, 2016), and between zoomorphic and anthropomorphic expression. We can also see this in the powerful relationship between the deep past and futuristic vision - for example in the symbolic trinity work the Guardian, 2021 - Beetle, 2021 - Creature, 2021, as if the living entity emerged

into the living presence from distant ancient archaism. However, the author's sculptural

realizations for public space also contain a natural conformation to the cyclical rhythm of

variability present in everyday urban life.

Pavlína Kvita's statues have a relatively typical plastic shape - at first glance precisely defined, in some cases it finds itself right next to a design that respects the practical function of the building (Torso, 2018). In reality, however, it is the result of cooperation with chance, open processuality, variable composition, continuous openness to constantly emerging possibilities (Heron II, 2021; Bison, 2020). The final form is a snapshot, a record of an interrupted process. In these cases, we perceive the author's specific observation / creation of the structure / architecture of time, its repeated stepping into another possibility. As if constantly transforming, she modified one shape.

The author's desire for the integrity of space is evident from the compositional principles of a number of works used, and the desire for the integrity of time from the creation of archaic-type forms as well as futuristic. It’s as if the current body of her work was directed on several levels to a kind of great synthesis. Each individual element has its clear justification, but only their reciprocity can give the impression of a higher order.

Pavlín Kvita has always been interested in the urban structure and the architecture of the urban space, especially the specific character of the suburbs. In her work, she’s touched the mood of the strange interaction between living and inanimate architectural environments without traces of historical continuity, with the genetic code of temporality (Suburbia II, 2015; Gradient, 2015).

All the more interesting is the author's current interest in organic figural forms, in

symbolism emanating from the depths of the inner mental space, in personal mythology

reflecting the living conditionality of evil and good. Is it evidence of change and the instability of eternity or a testimony to the parallel presence of death and birth?

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text: Iva Mladičová