Už som aj zabudla na túto starinu. Video slučka Woodoodoe (správne by sa mala volať Voodoodoe) vznikla ešte skôr ako moja porcelánová kolekcia Voodoo Set (2008). Dá sa povedať že išlo o elektronickú skicu k nej. Hudbu špeciálne pre laňku spáchal Pavol Kulich (takže určite zapnite repráky skôr ako si videjko prehráte!). Animáciu ale nenájdete na mojom webe, prekliknete sa k nej len cez stránku projektu one-art, tu. Nepodarilo sa mi ju zavesiť na môj blog, tak aspoň niekoľko videostillov aha:

Nápad na tento projekt vznikol už veľmi dávno, jablká na fotkách sú z roku 2006. Vzory som dosiahla malou manipuláciou so zrením ešte kým boli jablká na strome. Dúfam že najbližšie leto to už stihnem a zaútočím na celý sad! Tuším, že úroda bude bohatá!!!,-)

Idea for this project was born really long time ago, this photos are from year 2006. I did a small manipulation with maturing, during time when apples were still on tree. Hopefully next summer I will got enough time and finish all stuff. I predict rich harvest!,-)

Altar of Love (R.I.P.) je malá inštalácia ktorá vznikla špeciálne pre Bienále súčasnej keramiky vo Vallauris. Obrázok bol zatiaľ publikovaný len v katalógu tejto výstavy. Veľa slov o malej práci napísal kurátor výstavy Yves Peltier. Jeho text z katalógu citujem dole pod obrázkom.

Altar of Love (R.I.P.) is my small installation made specially for last Biennale of Contemporary Ceramics in Vallauris (France). For now, picture was published in catalogue of this show. Lot of words about this small artwork wrote a curator of biennale Yves Peltier. Whole text from him bellow picture.

Simona Janišová, Altar of Love (R.I.P.), 2009

“”Altar of Love” is the last little installation of the Voodoo series created by Simona Janišová. It is composed of a broken trophy representing a doe’s head decorated with flowerets – a naive and symbolic representation of the feminine – and a sex toy, also in porcelain, which serves as a virile, potent masculine counterpoint. It has a relevant décor in pastel colours which evokes joy, happiness and pleasure. The resulting juxtaposition of this contrast with a brutal harsh archetype evokes a smile, while nevertheless leaving behind a fleeting impression of bitterness. A candlestick with its candle completes the ensemble. It is a sign of passing time. This little scene, which initially appears to be innocuous, conjures up relations between men and women, the loss of a certain innocence, and even the dreams that are shattered on the altar of love. After relations that give pleasure and the fleeting joys of the flesh, what is left? What are the real possibilities of synergy and dialogue? The fixed aspect of these objects, and the apparent absence of any link between them, speaks volumes. This mini-theatre of intimacy simultaneously evokes drama as well as comedy – that of life and its apprenticeship, a journey undertaken by each human being over the course of their existence. The encounter with the other, the fusion that can result, would all seem to be mere illusion. The solution can perhaps be found in a sort of calm that resembles renunciation, unless, on the contrary, it would be in a rather crazy sort of hope, blind and delusive, that flickers like a tiny flame secretly nurtured, whatever the odds.”

Yves Peltier, Commissioner of the Biennale