Aleš Vašíček – Love of Freedom
Born 1947 in the Czech Republic // 1962-1966 Specialized School for Glassmaking in Zelezny Brod (Czech Republic) // 1966-1972 Academy of Applied Arts in Prague. Studio of professor Stanislav Libensky (Czech Republic) // 1990 Grand Prize, The International Exhibition of Glass KANAZAWA ’90, Kanazawa Chamber of Commerce and Industry, Kanazawa, (Japan) // 1999 Honorable Mention, VESSELS, The International Exhibition of Glass, Koganezaki Glass Museum, Koganezaki (Japan)
Public Collections (selection)
Museum of Decorative Arts, Prague (Czech Republic) // Musée du Verre, Sars-Poteries (France) // Musée des Arts Decoratifs, Lausanne, (Switzerland) // Kunstsammlungen der Veste Coburg, Coburg // Kunstpalast, Düsseldorf // Museum für Kunst und Gewerbe, Hamburg // Ernsting Stiftung, Coesfeld // Achilles – Stiftung, Hamburg (Germany) // Yokohama Museum of Art // Koganezaki Glass Museum, Koganezaki (Japan) // Museum of Applied Arts, Monterrey (Mexico) // Museum van der Togt, Amsterdam ( Netherlands)
Aleš Vašíček began with purely minimalist glass objects, in which simple forms were exactly connected. When he had exhausted the possibilities of perfectly balanced composition, he gradually abandoned his original approach, and his work has become increasingly relaxed, combining geometrical forms with structures. The inner space plays as important a role as the outer, and the light permeability of the substance is highly significant. Aleš Vašíček is able to make use of a wide range of expressive possibilities. He knows how to work with light, shadow and reflection. He achieves exact proportions between lines, intersecting straight lines and curves, irregular forms, structures and imprints of reality. He works with views through an object, colour changes, a defining of spaces, the angle of reflected rays.
Sometimes the message is left unsaid, merely suggested. The objects express a particular situation, or processes underway in nature and the universe in connection with the development of our technological civilization. In his works we can read a sense for the perfection of order, and simultaneously a deliberate violation or breaking of perfect forms so that the creative process can begin again, taking a different course.