Linda Wrong – GIRL SCULPTURE NOW!
Linda Wrong’s (*1989) work is linked to themes of the plant and animal kingdoms, ritual, myth, ecology, the urban jungle with pop culture lights and everyday survival in a world of chaos. She comes up with a personal reformation of these themes that redefines and brings more than just serious fun to each of her works. Her work oscillates between classical art, installation and design.
By combining individual seemingly disparate elements into a complex narrative, she creates dramatic installations. Each time different, in a different time, space, context... The drama that she uses, sometimes bordering on theatricality, illustrates the experience and the possibility to express through material and space, therapy, dream, or the simple presence of the moment and when the surrounding world materializes as only she sees it.
She uses the different approaches of looking at art during her studies (from conceptual, architectural to purely sculptural) to create her own language in her work.
Linda graduated from Lukáš Rittstein’s studio and during her studies at the Academy of Fine Arts (AVU) in Prague she went through the studios of Jiří Příhoda’s Monumental Creation, Pavla Sceranková and Dušan Zahoranský’s studio of Intermedia 2. Between 2011 and 2016 she studied in Ústní nad Labem in the studio of Jiří Kovanda. Apart from the Czech Republic, she has also exhibited in Indonesia, Germany, Poland and Ukraine. She has been on several residencies abroad and currently Linda is studying for her PhD at the Academy of Fine Arts and her research focuses on materials and carbon footprint in contemporary sculpture.
LINDA WRONG
• GIRL SCULPTURE NOW! •
LINDA WRONG • GIRL SCULPTURE NOW! •
the exhibition
For the Andaz Hotel, Linda has prepared a special collection where figurative representation and the search for identity through the animal is part of the image of existential continuity. The animal is used as an attribute, evoking associations not only with dreams and myths, personal life, travel and everyday experience. The interconnectedness of the individual symbols not only comes from the archetypal depths of the collective unconscious, the conception of the role of the animal and its depiction in art, finding its own mysticism and balance, is a depiction of the here and now.
Shishi dog, 2021
material: concrete
size: 45 x 20 x 45 cm
Chinese guardian lions are traditional depictions in architectural ornament. They are often depicted in pairs. Their action represents a balanced force and is meant to protect the building from evil spirits. In other cultures, these lions also manifest the balancing forces of yin and yang. The open mouth signifies the utterance of the sacred word “om”, the primordial sound from which the entire universe arose. It is a symbol of the past, the present and the future, i.e. the whole life cycle.
DUŠAN, 2019
material: concrete, pigmnet
size: 100 x 40 x 50 cm
Blue is the most popular colour in the world. For Linda Wrong, her dog Dušan is her most favorite dog in the world.
For Ives Klein and his International Klein Blue ( IKB 191), it represented the undeniable vastness of space, expressing that “blue has no dimensions, it is out of proportion, while the other colours are not”. IKB 191 was based on several key moments and experiences from his past. The monochrome work reflects a fascination with infinity. Klein saw these monochromes as a representation of life and immortality, stating that they were “an open window to freedom, a chance to immerse oneself in the immeasurable existence of colour”.
Linda perceives IKB in a context associated with infinite pure devotion and all-encompassing love not only for ourselves, but also for what surrounds and shapes us.
Sneaky Protector of Dreams, 2019
material: fiberglass, pigment
size: 160 x 120 x 350 cm
Snakes in different traditions and epochs are often attributed a strong and at the same time very symbolic designation. In Indian mythology, the snake (naga) is depicted as half-man, half-snake. Nagas wear a crown and lives in the underworld where they are the guardians of wealth. Snakes, as descendants of the earth, dwell in the waters of the underworld and are also closely associated with fertility. They are generally regarded as women and can have both a menacing and benevolent face depending on the circumstances. In Javanese mythology, floods are thought to be the result of the wrath of an offended earth guardian spirit. Snakes are to be worshipped because the naga is the sign of “water” in the sky and in this sense represents rain clouds, lightning, but is also a necessary source of water. Does Linda Wrong lead us to the side of the apocalypse, as the image may appear to lighten our current circumstances? What is our inner snake guarding? Is it our dreams, wishes or fear of admitting that the end of an era is coming and we are constantly destroying the world beneath our footsteps. The (Un)certainty of guarding what is coming before us. What point of view do we choose? How do we act so as not to further shatter what is already irreversibly begun?
Love Leo, 2019
material: concrete
size: 80 x 45 x 40 cm
The lion’s strength and self-awareness points to the magical power of the spiritual interior, of awakening self-consciousness, especially in the form of understanding the spiritual immortal nature of human existence. The equilibrium and duality they effect upon each other is a supporting stabilizing element at the fundamental level of interpersonal relationships.
White Rabbit, 2020
material: colored gypsum
size: 60 x 25 x 25 cm, 55 x 25 x 40 cm
Cute, fluffy, white, but still extraordinary. This is the Chinese Jade Rabbit, whose home is the moon. The shape of the dark spots on The Moon's surface resembles a rabbit. The rabbit is also a symbol of selflessness, piety and sacrifice. Maybe that’s why it lives on the moon - because no matter where we are on Earth, whenever we look up, we are always reminded of the values of character and selflessness that we can admire.
Year of the Tiger, 2020
material: porcelain, iron
size: 160 x 120 x 10 cm
In Southeast Asia, tigers and humans are usually considered descendants of a common ancestor. According to tradition, the tiger has a “human soul”. The magical powers attributed to the tiger are closely linked to the perception of the rainforest in Javanese culture as a dangerous and mysterious place full of malevolent magic. The jungle is the opposite of civilization. The tiger protects the jungle by scaring people away from it, and in return the jungle provides it with a refuge. If a tiger spends forty days in a cave meditating and fasting, it gains magical powers, kesaktian, which enable it to become invisible in the jungle. According to tradition, if one wants to be safe in the jungle, one must show respect to the tiger by remembering that they are both descendants of Adam and praying. The huge population of Javan tigers was wiped out in the early 20th century by humans through hunting and planting of agricultural crops. For Wrong, the tiger is a representation of the magical power that is omnipresent in nature. It is not just a local legend, but an invisible force that people has ceased to honor and perceive through their constant disruption and disharmony.
Spumam Animalis: Shine!, 2019
material: porcelain, concrete,pulb
size: 130 x 40 x 40 cm
Like sea foam on the shore forming clusters that are changed after a while by another wave, the symbol of an animal born of foam is a visible sign of this fleeting reality. Spumam Animalis comes from the most extreme places of archetypal pre-images. Like the ephemerality of sea foam, The Spumam Animalis Series refers to the transient values of today. Through an innovative process, the work combines the original values contained in nature and subsistence, as well in science, progress and the present.
Spumam animalis is a collection standing on the border between art and design. These porcelain object are made using a technologically advanced method, which I deal with in my artistic- academic research. The shaky structure of the material does not let the eye rest and forces us to constantly look and rediscover new moments. As a sculptor, not only the inner concept is important to me, but also the material through which the work speaks to us.
Spumam Animalis SerieS, 2019
material: porcelain
size: different size, smal objects up to 35 cm
Like sea foam on the shore forming clusters that are changed after a while by another wave, the symbol of an animal born of foam is a visible sign of this fleeting reality. Spumam Animalis comes from the most extreme places of archetypal pre-images. Like the ephemerality of sea foam, The Spumam Animalis Series refers to the transient values of today. Through an innovative process, the work combines the original values contained in nature and subsistence, as well in science, progress and the present.
Spumam animalis is a collection standing on the border between art and design. These porcelain object are made using a technologically advanced method, which I deal with in my artistic- academic research. The shaky structure of the material does not let the eye rest and forces us to constantly look and rediscover new moments. As a sculptor, not only the inner concept is important to me, but also the material through which the work speaks to us.
THE AYAM SerieS, 2018
material: fiberglass
size: 35 x 20 x 20 cm, 55 x 25 x 20 cm
The Ayam series was created in Indonesia during Linda Wrong’s creative residency. Chicken (ayam) is ubiquitous in Indonesia and forms a significant part of the local diet. The different species and behaviours that the artist observed loosely reflect the ways in which she felt there, and how these feelings changed during her stay.
My & Myself, 2019
size: life size, sitting possition,around 130 x 50 x 50
material: concrete, fiberglass
The figure of a naked girl, sitting on a throne/chair as the only figurative sculpture and without a male element, assures us with a calm and dreamy expression that everything is fine and under control. She is like a primordial mother, a queen or a heroine of the times bearing all its weight. Concrete and fibreglass are materials that need opposite processes when they are cast in order to harden. Two different materials refer to duality and at the same time to the synthesis of paradoxical qualities, as is the case with every human being. By using one’s own casting, by bowing to one’s own ego, there is a reconciliation over oneself and an acknowledgement of oneself as one’s own muse.