Sculpture Line
Beroun 2023

"That swimmers and other floating ladies is a lifelong theme of mine is probably well known. Feet out of the water is a bit different. It's the above water visible part of the handstand, and that's usually the most joyful display of kids and girls in the water. Well, I'm gonna cut it sometime. Even the people who see it get a kick out of the fooling around, well, how do you find that joy even where the girls usually don't swim, or sometimes swim, but it's just a little too cold to do so? A statue will replace anything - dead poets, saints, and even criminals. So why shouldn't a monument have feet of water when they are a symbol of the most important thing we are here for, the joy of life?"

"Works of art have had their place in gardens and parks since time immemorial. They can be a subtle accessory, an extravagant piece of jewellery, a guide, or they can be the central motif, the main reason why a garden space was created. A work of art and its placement in a garden can have a deeply personal meaning, or it can be the result of a meticulously thought-out architectural plan", Kateřina Pospíšilová, landscape architect about the work. Alexandra Koláčková's works are recognizable at first sight, her handwriting is unmistakable. And yet, or maybe because of that, they run the narrative line of the space in so many different directions in the garden... They are an ornament, a climbing frame, the centre of the space, a surprise peeking out of the undergrowth, a bench... And that is what I personally really appreciate about Alexandra's work. Most of the gardens are not just observed, the space is actively used - touching, sitting, lying, walking and rolling around is allowed, even welcomed. And so it is with Alexandra Koláčková's sculptures. Their rounded, simple and friendly shapes and often larger-than-life size directly invite us to climb them. That's a huge bonus for me as a landscape architect. A garden, and everything in it, should invite a visit, a beckoning finger to explore and discover. And in the case of Alexandra's sculptures, it's often not just a figure of speech, but an actual hand, or indeed a whole body, inviting you to sit, lie down, lean back ... whatever you want and whatever comes to mind. And your children, and the visitor, and their children. Alexandra Koláčková is a graduate of the Faculty of Education in Olomouc. Her work is characterized by large-scale colourful sculptures made of ceramics and concrete, designed for public space. In a number of projects, however, the author has extended the spectrum of her artistic work to the solution of space itself, which brings her closer to the work of an architect or landscape designer. Her artistic approach is characterised by an expressive colour palette, simple rounded morphology and an undying sense of the playful element.

"Works of art have had their place in gardens and parks since time immemorial. They can be a subtle accessory, an extravagant piece of jewellery, a guide, or they can be the central motif, the main reason why a garden space was created. A work of art and its placement in a garden can have a deeply personal meaning, or it can be the result of a meticulously thought-out architectural plan", Kateřina Pospíšilová, landscape architect about the work Alexandra Koláčková's works are recognizable at first sight, her handwriting is unmistakable. And yet, or maybe because of that, they run the narrative line of the space in so many different directions in the garden... They are an ornament, a climbing frame, the centre of the space, a surprise peeking out of the undergrowth, a bench... And that is what I personally really appreciate about Alexandra's work. Most of the gardens are not just observed, the space is actively used - touching, sitting, lying, walking and rolling around is allowed, even welcomed. And so it is with Alexandra Koláčková's sculptures. Their rounded, simple and friendly shapes and often larger-than-life size directly invite us to climb them. That's a huge bonus for me as a landscape architect. A garden, and everything in it, should invite a visit, a beckoning finger to explore and discover. And in the case of Alexandra's sculptures, it's often not just a figure of speech, but an actual hand, or indeed a whole body, inviting you to sit, lie down, lean back ... whatever you want and whatever comes to mind. And your children, and the visitor, and their children. Alexandra Koláčková is a graduate of the Faculty of Education in Olomouc. Her work is characterized by large-scale colourful sculptures made of ceramics and concrete, designed for public space. In a number of projects, however, the author has extended the spectrum of her artistic work to the solution of space itself, which brings her closer to the work of an architect or landscape designer. Her artistic approach is characterised by an expressive colour palette, simple rounded morphology and an undying sense of the playful element.

Uninstalled Pieces of art have been commonplace in parks and gardens since anyone can remember. They may be a discreet accessory, an extravagant jewel, a guide or a centrepiece of the garden's design – and the main reason for its existence. An art piece and its placement in the garden can have a deeply personal meaning, or it can be the result of a meticulously focused architectural intent. The creations of Alexandra Koláčková are immediately recognizable and her style unmistakable. And yet despite this – or maybe precisely because of this – they set the narration line of the area in motion in so many different ways... They serve as a decorative piece or a climbing frame; they can be the centre of the universe or a tiny surprise hiding under the bench... And that is why I personally value Alexandra's work so much.  Most gardens are not meant to be just observed, but rather used in active ways – their space waiting to be touched, sat on, jogged through... Everything is permitted – even welcome. The same applies to Alexandra Koláčková's sculptures. Their simple, rounded and approachable shapes as well as their larger than life size outright beg to be climbed on. This has a tremendous benefit for a garden architect like me. A garden, with everything in it, should be inviting, welcoming and open to visitors – it should encourage exploration and discovery. In case of Alexandra's sculptures, this is often literally the case, with hands or even whole bodies inviting visitors to sit, lie or rest on them. Whatever they want and whatever they can think of, be it children, their parents or their imagination.  Kateřina Pospíšilová, garden architect