Fractions & Covers
2020, covering fabrics, cotton yarn, (2x) 30 x 40 cm

Internal Affairs
2020, wood, satin, wallpaint, cotton fringing, 
35 x 45 x 42 cm

Some Other Purple Ambientals
2020, installation (paintings - acrylics on canvas, gloss varnish, satin pillows, plasterboard, wood, polystyrene)

The installation called Some Other Purple Ambientals deals with the theme of architectonics. It explores the boundaries between design and fine art. The whole environment evokes impression of dreamy ambiental simulation. It appeals as a memory imprint of a certain outline of some object or a fragment that suddenly creates (as it normally happens in dreams) unexpected encounter of various materials and colours. As a result there is a strong response that is both associational and emotional. Overall mood that pervades within each piece of the installation tries to take a pleasing effect on the viewer´s feelings by not only those various forms.

Feelings of Hot Pink With a Tinge of Comfort
2020, acrylic on canvas, gloss, 40 cm

Comfortably Numb 
2019, rubber foam moosgumi, painting

Comfortably Numb But Conscious
2019, rubber foam moosgumi, paintings

Wherever You Go
2019, acrylic on canvas, gloss, felt, 57 x 57 cm 

Little Bitty Pretty One
2019, fake fur, beads, glitter paper, 40 x 54 cm

Where are the limits between an art object and a product or textile design? Contemporary artists incline more and more to work with textile or other various materials that were originally purely industrial. This sharp boundary is fading away in just the same way as our memories of materials and patterns that we last saw on the carpet that we have just walked on or a on a pillow that we sat back on when we were last in a cafe… Perhaps we went by a shop window where we spotted something opulently glittery, almost hypnotizing but we cannot describe exactly nor recall it clearly. We just remember the feeling of urge to touch it and introduce ourselves to a physical confrontation with the thing itself. With her installation Sara Bojović is trying to awaken these exact emotions in us as well. She is tries to act on our animal nature in order to manipulate with our instinctive basic senses.

© Karolína Vojáčková, UKG, 2019 

Additional points:
The primery question I was dealing with when I started creating this object was not „What is it going to be“ but „What materials will I use to create it.“ My main focus fell on those kind of materials that not only look pleasing but feel good as well. I was seeking inspiration mainly in the lifestyle and fashion magazines and I tried to choose just those materials and elements that I found most hypnotizing and striking (calling for attention). I was not only focused on materials themselves but also on combinations and patterns that would support these traits. The result of this synthesis is some kind of a mimicry object that is mirroring not only what can be seen in those magazines but also in the street that I exhibited the object in (Pařížská).
This street is a symbol of power and wealth and all of those shop windows are getting us drunk with the beautiful and the opulent – you want to touch the clothes, the fabrics, you want to try that dress on, study it in depth - everything is soft, it is shining, glittering and mirroring - and as we see ourselves in that mirroring products we get aroused. It is some sort of a fetish for aesthetic objects that we experience while looking at all of those beautiful things.
It is kind of a competition not only between these shop windows but between people as well. In its base it is a purely animal and instinctive matter – to own the best. With this object that I created for Ukradená galerie I tried to enter this game-competition. I wanted to create something where I could incorporate this act of hypnosis. Therefore, I changed the gallery space to something that reminds of a shop window. That is the reason why the whole object is immensely overly-aesthetized. It tries to get your attention and just carry you away. The vitrine itself is not standing against us; It is lying on the ground with the window opened and the object seems to become somehow vulnerable. But paradoxically, it actually pulls you (down) in even more and since there is no barrier (the glass window) you gain straight access to the object and therefore it becomes easier to hypnotize and then manipulate with the viewer. However, it is a power manipulation with both the consciouss and unconsciouss and since it is about the instinctive matters it is pretty hard to resist sometimes.

You Are What You Eat
2019, ceramic plate, permanent marker for porcelain and glass, 26,5 cm

You Are What You Eat
2019, ceramic plate, permanent marker for porcelain and glass, 26,5 cm