Klára Hosnedlová's recent work has been inspired by her study of the work of Adolf Loos, who became famous for his modernist architecture and interior design. Hosnedlová’s unique technology of hand embroidery is intertwined with a powerful conceptual framework that examines the perception of the role of women in society over time through her study of iconic modernist architecture. A separated space for men and women, as designed by Loos in the Müller villa in Prague, correlated with the mentality of the previous century that attributed a different character to each sex. Women’s allotment was a little room with floral upholstery, lemon-tree wood and light colors, a picturesque seating corner, as if cut out for indulging in embroidery, an activity apprehended as something inferior to art, a pastime for the fair sex whose nature commands it to warm up the household, while men will take care of the progress outside. In pursuit of industrial success and machine-aided manufacture, purity and uniformity of shapes was the symbol of victory over the ornament and decorativism apprehended as backward. These two values, understood as opposites, were outlined against the background of social construct of feminine and masculine principles.
The artist carefully researches her chosen environments and intimately inhabits the space with her work. The artist often works with site specific installations, creating an elaborate stage for her on-going narrative. The difference between artwork and space used for its presentation disappears in the artist’s installations. All elements exist in mutual symbiosis, thus developing what we might call a specific “artwork milieu” or environment. In Klára Hosnedlová's installations, you directly enter the artwork and walk through it. You move within the environment and like a visitor who out of curiosity entered a room where he or she is not quite entitled to be, you will get glimpses into the private world of the absent residents.
Text by Klára Burianová