Glass Line
{Petr Stanický Petr Stanický Petr Stanický Petr Stanický Petr Stanický Petr Stanický Petr Stanický Petr Stanický Petr Stanický Petr Stanický Petr Stanický

Petr Stanický

He studied stone sculpture at the Secondary School of Applied Arts in Uherské Hradiště, then at the Academy of Arts, Architecture and Design in Prague, where he first studied at the Sculpture Studio under the guidance of prof. Kurt Gebauer and subsequently at the Studio of Glass in Architecture under the leadership of prof. Marian Karl. A great influence on his professional development was the period when he worked as an assistant to prof. Jiří Beránek. He moved his theoretical and practical education forward while studying abroad for several years: first at Edinburgh College of Art and then at the Rhode Island School of Design in Providence. From 2005 to 2007, he was granted Fulbright Scholarship and studied at the New York Academy of Art. During this postgraduate study, he was an assistant in the studio of renowned artist Jeff Koons for more than a year. The rich study of diverse opinions and strong, artistically distinct personalities can be one of the explanations why Stanický is so distinctive and flexible in his expression. The experience gained was reflected not only in his work, but also in his teaching - since 2008 he has been a head of the Glass Design Studio at the Faculty of Multimedia Communications of Tomas Bata University in Zlín.

His works are represented in the collections of prestigious Czech and foreign museums and institutions, such as the Kinsey Institute in the USA, the Nationaal Glasmuseum in Leerdam, the Netherlands, the Pinakothek in Munich, the Museum of Applied Arts in Prague and the National Glass Centre in Great Britain. His works are showcased in many countries, only this year, in addition to The Venice Glass Week, his works are also representing the Czech Republic at the London Design Biennale, European Glass Context 2021 at Bornholm in Denmark or at the National Glass Centre in Sunderland, UK.

Of all the authors presented, Stanický stands out the most of the traditionally perceived profession of a glass artist. In terms of his thinking, he is mainly a sculptor, but he uses glass as an architect - he has a strongly developed sense for finding a stable order of things, a feeling for clearly defining an artistic idea in a solid structure, as well as for understanding and grasping a unique space. He creates unique "glass spaces" with sober, almost minimalist means. Not only the volume of the works themselves, but also the volume in them and around them plays an important role, it becomes a natural part of the work. There is a shape and proportional contact between the object and its surroundings. A kind of game with an illusory perspective is created and the motionless creation forms a new, living dimension. In this context, the space itself is levelled up to a work of art. The viewer first absorbs the visual contact with the material essence of the object, gradually also with its image or reflection, and finally the blending with the object itself. This metaphysical experience evokes a multi-layered reflection that encourages you to search for your own views, insights and stories. It allows you to step out from silence, potential emptiness and enter the newly created reality.

An important part of Petr Stanický's work is the combination of seemingly disparate materials with a special language of expression. For the exhibition Czech Glass, Quo Vadis ?! he chose two objects from stratified layers of structured metal and glass. Their form goes all the way back to the elementary proportional and architectural principles that are evident, for example, in the works of the Renaissance sculptor Donatello. It was his perfect shallow bas-reliefs that created the impression of deep spaces that inspired Stanický with their perspective in creating the exhibited duo.

„Statues of Shelter I. and Shelter II. examine the nature of our stay in inconsistent spaces and the often confusing and diverse understanding of our relationships with them. They exist at the crossroads that lie between real shapes and forms and those that only suggest imaginative illusory evocations of sculptures. The mirror effect of glass surfaces, the comparison of flat planes and dimensionality based on a stratified metal mesh, as well as the accompanying mysterious glass walls, draw observers into a colourful world that serves as a parable about our own home spaces and the fragility and transience of our lives."