The bounds between abstraction and a depictive representation are sometimes very thin, however they can offer a wide field for art work. This applies to Alice Nikitinová (born in 1979) who studied under Jiří Sopko at the Academy of Fine Arts for six years. Although it’s often pointed out she comes out from the avant-garde legacy and she frankly admits her liking for Malevič, her work can’t deny the influence of pop-art, post-painting abstractions along the same lines as Ellsworth Kelly or minimalism. She has always been interested in the visible world around us and her view is rather specific. She is primarily interested in the city furniture – its service part such as dustbins, letter boxes, cleaners and street sweepers but also communication – traffic signs, trolley wires etc. She is also interested in various notices and hoardings. This is characteristic because her paintings are „signal“ at first sight as well (clear colouring with minimum shades) like signals that should be perceived altogether and at one moment. We often recognize objects in their conciseness and at the same time lifelikeness at second sight – for example a banana box reduced to typical gaps.
Some motives have become certain emblems of the author – rubber boots, a broom, a ladder or gloves. First they appeared in her figural paintings but with time they became independent. We may consider objects – features in the work of Alice Nikitinová tightly related to human activity although the presence of people has disappeared from her paintings. Despite the apparent formal austerity (or benevolence to the contrary), it’s not just about experiments with colour, shape and perception of the viewer but also about careful examination of living space which helps to create us.

Tereza Jindrová

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