Panta rhei (Rakovník)

The title of the exhibition by Ingrid Račková and David Suchopárek, collaborators who have worked under the acronym IRDS since 2001, is a reference to several circumstances. One is the fact that the well-known Greek expression conjures up ancient antiquity, which is often reflected in their works as a living source of the inspiration they naturally absorb during their travels to the Mediterranean. And then there is the actual meaning of this Platonic abbreviation, pointing to the teachings of the natural philosopher Heraclitus of Ephesus – everything flows, i.e. reality is constantly changing and its absolute form is therefore impossible to capture. It’s likely no coincidence that sociologists often describe today’s society as fluid because of its constant movement, permanent changeability and, on the other hand, the absence of certainty and fixed ties. But Heraclitus also believed that this infinite transience went deeper than just things and events, i.e. that it also applied to the whole in which they are found – the universe, which is said to be the product of fire, like the glass that Račková and Suchopárek work with.

Although the two graduates of UMPRUM in Prague express themselves using the same medium and have chosen the same abstract artistic language, each prefers a different format in their work. While Ingrid Račková concentrates mainly on hanging pictures, in which she combines mainly engraving and painting, David Suchopárek is more inclined towards objects made of cut laminated glass. However, the ideological foundation and visual qualities of their pieces, including geometric morphology, purity of form, emphasis on colour and optical impact in general, overlap to such an extent that the results of their work have a unique theoretical and artistic consensus bordering on duality. Moreover, literalism is alien to both artists. Their work is typically quite economical in its expression, often at the level of an open symbol or sign, so it has the potential to become a subjective catalyst of emotions and associations, practically independent of a specifically anchored narrative. Which doesn’t mean they’ve completely jettisoned organics, opulence or story-telling, which is also suggested by their current show summarizing their work over the last fifteen years, with a focus on the recent present. This interwoven exhibition is based on the architectural layout of the gallery and is loosely linked to the shape of a single spiral coil. The selection covers nearly all segments of IRDS work – not only the key cycles of glass paintings and objects that form the backbone of the exhibition, but also the design, i.e. the applied part of their production, such as the large segmented vases for Moser with a distinctly sculptural character. The show opens with these pieces. There are also original glasses inspired by architecture or the legacy of famous painters of the past. For the first time, models and sketches of certain works are also a significant part of the presentation, enhancing the idea of their genesis, while also shedding light on the context of their creation.

If the opening of the exhibition has a stronger emphasis on the external features of their expression – primarily the effectiveness of shape and colour, it gradually moves towards an experience of a different type – a greater focus on the essential questions of the meaning of human life, self-examination, reflection and the transformation of perception that time brings. In this respect, the concept of the installation can be labelled as mentally interactive. As a whole, the exhibition creates not only a complex image of the physical work of Ingrid Račková and David Suchopárek, but especially the internally interconnected path of their visual thinking.

Prague, March 2023