Writing to explain it all:
How do you write a letter that explains so much of one’s life work? Perhaps for younger person this would be a simple task, but simple isn’t the answer while facing a complexity of more than four decades lived. The complexity I’m talking about is a web of interconnected experiences and ideas. As you can imagine there is no linear way to cross this web — or perhaps there is, but those kind of shortcut gains lead to a much larger ignorance. Assuming that we are interested in a more inclusive, holistic and messy knowledge --- by its very nature, the travel on the web must be either circular or happen in ray- like outbursts of going forward in one direction, returning to the center and then heading back out in another direction.
Lately I’ve been drawn to - and also drawing - the word “punk”. The drawing is a part of an autobiographical series recording both my bodily state and my state of mind in the current moment. The drawings are an abstracted embodiment and expression of my feelings about my own identity. Since I don’t typically identify with the punk rock movement, the word punk came as a puzzling surprise to me. I was hesitant to use it. I understood only when I looked up the word’s origin: punk was a fire starter. I could go with that, I have started a few metaphorical fires in my lifetime.
I learned early on to question the status quo of existing social structures and values. Growing up under a communist regime that, by the time of my adolescence, had lost all of its credibility, I became wary of any authoritative ideology. This kind of questioning stayed with me: as an artist, immigrant, a college dropout and mother of two small children, more often than not I found myself on the margins of our current socio-economic system, observing it from the outside. The relative social and professional isolation forced me to look inward and investigate my own motivations. Needless to say I took the long way; by not following the typical routes prescribed by the social norm I was forced to invent and create my own methods for dealing with problems and challenges.
In my art practice these two tendencies - to question what is and to start something new - often lead me to encounter the unknown. That initial meeting with the unfamiliar signals the beginning of a long road from curiosity to manifestation and in turn to understanding. Although the manifestation varies from project to project (I prefer to maintain a focus on meaning, not just appearances) the premise remains the same: I’m searching for a place of complex unity between a deeply individual and relational practice - the intersection of vertical (internal) processes and horizontal (public, collaborative) aspects of my work. Usually there is an interdependency, one axis is feeding the other to the benefit of both.
Too much info? Here is a short version:
Klara Glosova is a Czech-born visual artist currently based in Seattle. She is a multidisciplinary artist working primarily in drawing and painting. Her work intertwines her personal history of political activism in Eastern Europe with her experience as an artist and mother and (above all) a curiosity and playfulness that extends to both concept and materials. Klara is also a founder of NEPO House and is always interested to see what happens when you place the inside out, invite the outside in and generally do things backwards. She received Seattle Magazine's Spotlight Award in 2013. Seattle Art Museum's Kayla Skinner Special Recognition Award, the New Foundation Fellowship and nomination for James W. Ray Distinguished Artist Award in 2014. In 2015 she was nominated for the Stranger Genius Award and a Betty Bowen Award finalist in 2017.
Represented: Linda Hodges Gallery