Cecilia Horáček

Cecilia is influenced by work that draws the viewer in. The work is underscored with an awareness of embodied viewing and an attempt to dissuade passive viewing. The structures and prints are to be viewed as an ensemble encouraging you to become aware of the surroundings and drawing connections between the artwork and the space. The prints reference the architecture, and the architecture references the sculptures. 

The work in the graduate show has been produced through an exploration of the relationship between two and three dimensions. Cecilia has been exploring the idea of ‘insubstantial’ or ‘fragile’ architecture and use of space in medieval and early modern painting, using the ‘concertina shape’ to exemplify this notion. She believes the concertina has a certain structural similarity to the walls in such paintings. It is a flimsy structure that can be made from one sheet of paper, folded and manipulated into a three-dimensional shape. The concertina collagraph can be read as either an architectural structure, which the chine-collé further encourages, or it can be pages of a book with drawings and cut-outs.