About the artist:



born in Karlovy Vary in the Czech Republic.


She graduated from the Secondary School of Arts and Crafts of St. Anežky in Český Krumlov, where she went through drawing and painting studios (teachers Stretti, Výborná, Vavrečka, ...) and scenography with Professor Koutecký.

For more than 9 years I have been working under the guidance of academic painter Miroslav Pesch. She is the granddaughter of the well-known academic painter Jindra Husáriková.

Studio I.: Řipská 25, Prague
Studio II.: Horní Štěpanice 22, Benecko


Lenka Husáriková's Origami and Tangram exhibition is inspired by historical elements outside of European cultural traditions. Origami comes from Japan, Tangram originated in China. They gradually became populated and today they are a cultural world heritage.

The interest in these two sources of motivation came suddenly, literally like a bolt from the sky, but it was a logical outcome of everything that preceded it. Perhaps thanks to a happy coincidence and the author's intuition, because these facts are also part of the world of art. It was a period of unsatisfied creative groping and a certain cycle. And it was a painting with illusory precision, a quest for optical perfection, in the treatment of the brush and the color composition, technically and technologically thought-out painting processes, which ended up in the repetition of the same principle. Everything took place in the genre of still life, landscape and figure painting. And suddenly came the turning point, to clarify the terminology. He was more of a continuous arrival. The lightning from the sky mentioned above was, of course, a sudden enlightenment that often takes place in a few seconds. The former "Old Master" and illusive pictorial creations, focusing on the play of light and shadows, color and optical regularities with an emphasis on the sensuous materiality of the displayed models and objects, gradually orientated formally in a different direction, maintaining their precise execution, but not in the depiction of the external real of the world, but in the use of elementary abstract geometric forms (the influence of origami and tangrams). Husáriková gradually frees herself from the slavish rewriting of reality in a visually and analogically different form. He no longer creates a pictorial story from real objects, but from simple geometric forms he composes a meaningfully identical reality with its own objectivity and narrative. Her interest turns to a larger and freer grasp of the subject. The unified idea of ​​the whole is created here by a synthesis of ideas, which was preceded by a consistent and reductive analysis. This whole can be perceived not only literary (boats with fishermen), but also objectively and statically similar to Church Stained Glass (individual origami objects). It is here that the author's catharsis occurs, coming to terms with her previous work and perhaps even coming to terms with the artistic legacy of her grandmother, the painter Jindra Husáriková, who dealt with similar formal and content pictorial relationships, of course in a different context and at a different time. By acknowledging the symbolism of the story through the spectrum of the analyzed historical tradition, Lenka Husáriková uncovers her own area of ​​fascination for creation and experiment, which drives her on and on. It opens up new possibilities and, above all, gives faith and strength in further creation.

It is perhaps not a coincidence that he looks for a source of inspiration from the point of view of the European painting tradition in the prehistoric period of Japan and ancient China. She admires the old masters, that formally psychologically conceived module that accompanies us from the Renaissance to the 1960s and which was her inner dictate. To constantly improve in seeing and observing nature thanks to own experience and the cultural legacy of previous generations. Find your own form. And perhaps it is not even a coincidence that the last stage of this development, the post-war abstract of American painting of the 20th century. very related connotations (geometric abstraction) to the aforementioned cultural tradition (origami and tangram). But for Lenka Husáriková, it was more merciful to reach for the old tradition, precisely because she paints the Old Masters, which paradoxically led her to the very end.

Miroslav Pesch, painter and art theorist