PERSONAL PICK-UP | 19.12. 10:00-17:30 | 20.12. 10:00-14:00 | 23.12. 10:00-15:00
ATELIER FOR TWO
In the late afternoon sunlight, tiny specks of plaster dust float through the air. The former ballroom, still adorned with a wooden balustrade for musicians, is now filled with silence and sculptures. This spacious studio, where Dana Bartoníčková and Martin Žák work together, adjoins the house they discovered three years ago. Today, it’s both their home and creative space, where they live and bring their artistic visions to life. It stands in the village of Klučov, a name familiar only to those who glimpsed its fleeting sign from a passing Pendolino train or those who’ve wandered off the beaten path. From the outside, the white First Republic-era building seems unassuming, still resembling a countryside inn where traditional snacks like jellied meat with onions and shots of slivovice might be served. The atelier makes an even more monumental and almost surreal impression as you step through the expansive glass doors, entering from a green-painted salon lined with flowers and books along the walls. Inside, a "white army" of Martin's classical sculptures, often life-sized, stands in iconic poses, observed by a flood of somber male heads perched on surrounding ledges, pedestals, and inside glass cabinets. The character of Martin Žák's work immediately transports you back a hundred years, and even further, to antiquity. In contrast, the art of his partner, Dana Bartoníčková, pulls you back to the present with its originality and distinctive style, which you’ll quickly remember and fall in love with. She creates figures, busts, and paintings using her own technique involving wax—a delicate material not often associated with art, which both she and Martin incorporate into their work, blending it with concrete and metal.
Both artists graduated from Prague's Academy of Fine Arts (AVU), where they first met. They started out living on Sochařská Street, with their first date on Valentine’s Day—something that might seem lacking in imagination and even a bit kitschy. But the reality couldn’t be more different, as their graduation projects quickly drew significant attention. Dana’s sculpture series titled "MY BODY MY BATTLEFIELD" sold immediately, with two parts entering prestigious art collections. One part is now held by the Pudil family foundation for Kunsthalle Prague. Although they work independently and their artistic styles differ significantly, their works have recently started appearing together in public exhibitions. Whether featured in the largest Czech collection of the Kasper family or at this year’s summer exhibition at the renowned Gočár Gallery in Pardubice, their sculptures are now often displayed side by side.
Dana and Martin have deeply impressed us in various ways. Dana’s innovative artistic technique contrasts with Martin’s melancholic, poetic classical sculptures, creating a unique dynamic. After successful residencies and exhibitions in New York, Beijing, Berlin, and Venice, they settled into the peaceful Czech countryside as their creative base. Together with the Pigmentarium team, they spent this past year in conversation during visits to their studio. To close this introduction to the photos of their work—photographed, unsurprisingly, by the multi-talented Dana—we’ve selected fragments from those dialogues to bring their creations even closer to you.
an interview by David Ševčík
Which piece of your partner's work would you (hypothetically) choose to add to your personal collection?
Martin: I love two of Dana's large-format "paintings" that we have in the entrance hall and on the staircase. They are quite monumental and heavy due to the technique used. These are pieces you won't find in any gallery in the world. Her work keeps evolving, pushing her own creative boundaries, even though she is now clearly identifiable and commercially successful. But that’s not enough for her. For the exterior, I would definitely choose the last two concrete dancers, levitating on steel skirts.
Dana: The statue of Hercules, a monumental plaster figure, was the central motif at last year's joint exhibition at the Bold gallery, paired with a heart by Tereza Štětinová. However, my personal favorite of Martin's works are his small plaster sketches and compositions that teeter on the edge—they are incredibly delicate. They translate beautifully when cast in bronze as interior sculptures, perfect for collectors who enjoy surrounding themselves with art.
Martin: I love two of Dana's large-format "paintings" that we have in the entrance hall and on the staircase. They are quite monumental and heavy due to the technique used. These are pieces you won't find in any gallery in the world. Her work keeps evolving, pushing her own creative boundaries, even though she is now clearly identifiable and commercially successful. But that’s not enough for her. For the exterior, I would definitely choose the last two concrete dancers, levitating on steel skirts.
Dana: The statue of Hercules, a monumental plaster figure, was the central motif at last year's joint exhibition at the Bold gallery, paired with a heart by Tereza Štětinová. However, my personal favorite of Martin's works are his small plaster sketches and compositions that teeter on the edge—they are incredibly delicate. They translate beautifully when cast in bronze as interior sculptures, perfect for collectors who enjoy surrounding themselves with art.
How would you describe your creative style?
Martin: In the Czech and global cultural context, there are very few artists today who create such sculptures, particularly not in the same technological way. While the process is similar, the final materials differ. The entire spectrum of contemporary sculpture today draws directly from the second half of the 20th century. When artists work with the figure, they adapt the form to fit the times, which are fast-paced and tend to focus less on the spiritual essence of a piece and more on ideas and the development of deep concepts. I, however, focus more on the personal and spiritual dimension of the artwork. I don’t aim to explore themes that will be irrelevant in a year. Instead, I concentrate on timeless topics, the inner human world, our stories, and characteristics. My approach to working with the human figure is a natural extension of this ideology.
Martin: In the Czech and global cultural context, there are very few artists today who create such sculptures, particularly not in the same technological way. While the process is similar, the final materials differ. The entire spectrum of contemporary sculpture today draws directly from the second half of the 20th century. When artists work with the figure, they adapt the form to fit the times, which are fast-paced and tend to focus less on the spiritual essence of a piece and more on ideas and the development of deep concepts. I, however, focus more on the personal and spiritual dimension of the artwork. I don’t aim to explore themes that will be irrelevant in a year. Instead, I concentrate on timeless topics, the inner human world, our stories, and characteristics. My approach to working with the human figure is a natural extension of this ideology.
Dana: I’ve found my style, technique, and process, something that has been recognized by galleries and collectors. Lately, I’ve been working more with concrete, but the final surface has a unique wax inlay. It’s a technique I developed and refined myself, and so far, I haven’t seen anything like it elsewhere, nor has anyone who’s seen my work. So, in both the Czech and global context, I believe it truly is something unique.
Discovering a new artist can be most intriguing through the work they themselves cherish. Which of your creations do you hold most dear?
Dana: In general, I prefer the small wax artworks in concrete frames with various themes. In a smaller format, I can approach the subject much more intimately, while in a larger scale, it wouldn’t have the same impact.
Martin: That's a tough one. I sort of "love and hate" everything equally, depending on how I wake up and what the light is like... Right now, I'm most excited about my latest piece, a female torso I recently cast. It's the closest I've ever come to capturing the essence of antiquity. And not because the figure lacks a head or arms—that emerged through the process, the form, and the composition. The piece is titled Eternal Torso.
Your work is the object of collectors' passion. What kind of artwork do you surround yourself with in your home?
Dana & Martin: Although our studio is filled with our own sculptures, drawings, and paintings, we also enjoy filling other spaces with gems from prominent artists—primarily Czech masters like Štursa, Sucharda, Uprka, Šaloun, and Makovský. Additionally, we are surrounded by works from our fellow painters, including Jiří Marek, Tomáš Honz, Jan Heres, Tereza Zichová, Kateřina Ondrušková, and Ondřej Mestek.
Martin: And in between, there's also a piece of drawn-on latex from Tereza Štětinová, which comes from our joint exhibition...
You can discover Martin and Dana's artworks at exhibitions, through gallery collections, via their Instagram profiles and websites, and undoubtedly, by visiting them in person for the most immersive experience.
