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Fruits of inflation
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Mojšová Ivana

Fruits of inflation

2023, oil on canvas, 70 x 100 cm

In the years 2014-2020, she studied at the Academy of Fine Arts and Design in the Painting studio under the direction of Klaudia Kosziba. In 2017, she completed a study stay at the Stroganov Academy of Arts in Moscow. The three-time finalist of the Painting competition (2021, 2022, 2023) was awarded second place in her debut in 2021. In her paintings, Ivana Mojšová discusses a wide range of topics, from romance to soft porn, from female nudes to gutted chickens. It is expressed through opposing positions and a formal alternation of styles. She primarily develops the dynamics of power relations in them - she is interested in the pursuit of something desired - whether it is pleasure, power, a good catch, momentary pleasure. The author often deals with the ambivalence of the scene, codes it through symbols and references, overturns the usual visual schemes and stereotypes. He creates the dynamics of his works not only formally - through composition, but also through narrative (almost even scenic arrangement, non-uniform scale, objects and events "torn" out of context). Through the final painting Fruits of Inflation (2023), Mojšová reacts to a very vivid theme that determines our lives in the macro- and micro-space. He reminds that just as the costs in other professions increase, so naturally the artistic creation itself becomes more and more expensive. The empty space symbolizes an area that a painter eighteen years ago could have filled with paint for the same cost allocated to creating a work of art. Mojšová collageally combines elements of reality (shopping plastic bag) with a classic studio environment (frames, paintings), but also with levitating vegetables or fruits (rhubarb?). In its execution, however, incompleteness is more of a content reminder (impossibility to finish painting the canvas for objective reasons) than a painting game with space. If inflation reduces the value of money over time, it is possible that Mojšová is actually asking us a more general question about the meaning of painting as such (and not only in this special time...).