What do the eyes seebefore the brain figures outwhat it is looking at?
Professional artist, recognised by the Ministry of Culture of the Czech Republic on 6 January 2026.
Attestato di Merito Italia - Premio Artista d ´Europa
Tripple finalist Curatone.Art
Mgr. Nicol Rubá Vošmíková, born on 10 March 1988 in Opava, graduated from the Pan-European University – Law, Slovak Republic, and Charles University – Law, Prague, Czech Republic. Mother of her daughter Valentina. University of Ostrava - Pedagogy, Ostrava, Czech Republic.
Comes from a family of architects: her great-grandfather was Ing. arch. Jan Rubý, and her grandmother was the painter Mgr. Dagmar Rubá.
PROPRIETARY TECHNOLOGY: POLYADIC N-ary | SD-2™
Technique: Saphea Phenomenal Spatial
I. THE CORE PRACTICE
The practice of Mgr. Nicol Rubá Vošmíková RUBART is a coherent artistic-scientific-research syntax that ignores stable categories of sculpture, painting, and installation and defines its own gravitational field. Across scales, disciplines, and formats, it operates according to a shared principle: the work does not deliver one stable piece of information.
The pictorial plane collapses into space. Reliefs exceed their plane, frames cease to function as boundaries, and objects become matter. Structures emerge through controlled destruction and changes of state. Form does not arise as an illustration of a predetermined concept, but simultaneously with the disruption of structure. Each work is an autonomous anomaly.
The artwork is physically completed through its creation; its properties, however, are established in perception. It carries several mutually incompatible layers that exist simultaneously but cannot be read simultaneously. A change in angle, distance, and bodily position updates its perception. The work organizes the viewer’s body before the mind manages to name what it is looking at.
The practice phenomenologically examines the viewer’s pre-semantic perception and engagement. Recognition is disrupted, attention becomes concentrated, and the surrounding field of information recedes. Paradox, scale, proxemics, and time are not separate themes here, but parts of a single perceptual system.
Thermodynamic decay is not extinction, but a generative principle and the ontological foundation of the practice. Energy released through decay returns to the system and participates in the reorganization of matter and in increasing its degree of order. The result is a reduction of informational noise and a decrease in entropy: visual and mental silence that concentrates attention on the presence of the work.
The recognizable artistic signature is not limited to relief, degree of figuration, spatiality, color, or medium. It permeates the mode of thinking, the construction of individual works, and the coherent system of the entire practice. The intuitive process rests on thirteen years of development and recurring ritual foundations, from which the Polyadic N-ary / SD-2™ Proprietary Technology emerged.
Polyadic N-ary / SD-2™ Proprietary Technology emancipates the work from complex structural systems. Monumental objects are installed on a single nail, without intervention in the architecture and without complex handling. The work is not dependent on monumental space; it carries its own space with it and changes its scale from within.
Autarchy-specific.
The themes of individual works are governed by a coherent system in which the present is not separated from the past, but continues its physical and cultural transformation. The result is permanent structures of architectural scale that maintain an active continuity of time.
Matter here is not a vehicle for explanation. It is the argument itself.
Extraordinary
Water. Distance. Nanodroplets captured to define their own colour spectrum through the refraction of light.
I create to survive. I create to pass something on. While other children in kindergarten drew their futures on paper, I drew on the walls of my room; this ensured my creations wouldn't be scrutinized up close, nor would I be labeled as I heard day in and day out as someone who painted poorly and was hopelessly clumsy. In this way, I chose to be the one who ruined the wall. Yet, my subconscious somatic trajectory had taken shape much earlier. My first sentence uttered at the age of one, while still a baby in a crib was not like my daughter’s "Where is the balloon?" but rather "Don't touch that," spoken to my grandfather when he tried to take a picture down from the wall in my room. That was the moment I first shocked, disoriented, and captivated those around me.
In the seventh grade, under a strict ban on touching the walls with glue, tape, nails, or anything that might leave a mark, I cut out dozens of paper butterflies, colored them, and anchored them to the wall with nothing but chewing gum. When the windows were open, they would flutter. To this day, I have a terrible phobia of butterflies perhaps I knew even then that fear would be my constant companion. Today, I know that artists are bound by far more than just acrylic paint; each of us has weathered uncertainty, loss, abandonment, and ridicule. We have let go of others and ourselves for the sake of something greater. Have we trapped our fears within our own boundaries? Yet, the first to reject us is often ourselves. We tell ourselves we aren't good enough; we rush, feeling like others are ahead of us, even though no one is truly ahead or behind we just don't say it out loud. Acceptance doesn't come from external validation, but from embracing our fragility and vulnerability from courage. I am brave, and so I know now that the fear of rejection and of butterflies will never vanish; yet I can change its place and form, transforming a command into mere information. Fearing rejection or a butterfly is not fatal.
We are facing rejection, criticism, and ridicule, yet they pressed on not because they lacked fear, but because they carried something far more important than that fear. I, too, carry my own important message a unique contribution that only I can offer but I must reveal who I am, my true nature, rather than acting out of a fear of rejection.
Instead of seeking the approval of others, I have chosen and continue to choose my own authentic nature. Being authentic does not mean being cruel; I remain true to my own reality with compassion, being myself while respecting others.
And so, I create, present, and describe, but above all, I leave my mark on the present day through my work. It serves as my inner map; as I view it piece by piece, I see not only a reflection of time passing but also myself responding to the present moment. My upbringing instilled the order of architecture and my mind the discipline of law, yet my hands speak a language that cannot be learned from books. I create at the point where logic ends and transformation begins amidst a rigorous thermodynamic breakdown.
They cannot be read all at once; they contain multiple layers of information that are simultaneously true, yet cannot be read simultaneously.
The BABYLON series was my purgatory. It holds salt, dust, time, the fire of earth and water, magic, and Sumerian rituals. It is a testament to the struggle for survival.
And now comes METATRON’ZOLDAMEDA. Along with my works, the color of my eyes is changing, too. I am discovering the boundaries of gravity and a sense of wonder—pondering just how deeply you will engage. I am also reflecting on space as a lighter form of existence in the present moment—a place where no one truly wants the truth, nor acknowledgment, nor praise. They simply want someone to stay when they are unbearable. They want to be who they are without losing anyone in the process.
Amomaly monumental - axial rigging one nail
II. THE SYSTEM REDUCTION (FOUR-TIER COMPLIANCE & STANDARDS)
The evolution of the stabilization of the registrant's long-term manual techniques into the unyielding Polyadic N-ary / SD-2™ Proprietary Technology establishes an absolute structural law. It operates as a deterministic, non-linear technical standard executing a polyadic hyper-system, where a singular non-disclosed process concurrently coordinates four parallel functional, material, and spatial sub-systems:
1. THE MECHANICAL SUB-SYSTEM (STATIC AXIAL RIGGING & HYBRID STATES): The technology entirely liquidates the requirement for multi-directional structural frameworks, heavy load-bearing frameworks, or invasive architectural anchoring. It coordinates dual spatial configurations—allowing objects to exist as independent freestanding structures or to be deployed via a single, univariant suspension vector. Regardless of variable vertical depth coordinates extending profoundly into the room, multi-part diptych formats, or architectural voids that incorporate the physical wall into the composition, absolute mechanical equilibrium is executed via ONE SINGLE NAIL anywhere, requiring zero permanent structural manipulation.
2. THE GRAVITATIONAL SUB-SYSTEM (MASS ANOMALY PARADOX): The internal density of the matrix is calibrated to permanently neutralize gravitational risk, structural displacement, and warping under continuous handling, transport, or relocation. Formulations displaying intense visual thresholds of mass are structurally balanced to minimize dead load on the vertical surface, exerting a localized downward force lighter than a cat. Material integrity is maintained as a deterministic constant, ensuring absolute spatial safety independent of external volumetric expansion.
Own chemical optical colour spectrum
3. THE CHEMICAL-OPTICAL SUB-SYSTEM (SUBSTRATE & SPECTRUM): The technology integrates a proprietary non-pigmentary coloration standard characterized by a uniform, non-random tonal distribution across expansive architectural surfaces. Operating through managed surface tension and structural coloration, the substrate utilizes micro-geometric boundaries and multi-layered chromatic interference to replicate advanced light-refraction anomalies. The resulting optical spectrum delivers newly synthesized, unclassified semi-matte polychromatic fields, specific violet-green shifts, and grey-white-blue gradients that dynamically change under variable daylight angles, locked permanently within a UV-stable and non-degrading matrix.
4. THE MATERIAL-INSTITUTIONAL SUB-SYSTEM (SHATTERPROOF TACTILE IMMUNITY): The finalized matrix achieves complete material autarchy, permanent fire retardancy, and absolute environmental and water resistance. Constructed as a pure solid relief without molds, internal cavities, or hidden supports, the matrix exhibits extreme shatterproof and unbreakable integrity verified under severe drop impact testing. The surface functions as an active tactile interface with complete immunity to human contact and physical wear. By rendering the structural relief impervious to damage, the technology radically dismantles the traditional gallery dogma of non-contact presentation ("do not touch"), establishing uncompromised, unmediated spatial, acoustic, and tactile accessibility for visually impaired observers.
It is a threshold between the perceived and the recognized a passage through technology, society, paradoxes, history, physics, psychology, time, and life itself. All with the awareness that every life entails death. What does the body know before the mind decides what it is actually looking at? How much changes when things are given a name?
I gave a second life to the Millie series pure sculptures and fragments from my installation work asking: how little does it take for them to be together?
The answer can be found in the I’M O.K. series, made from teddy bears.
The teddy bear phenomenon began as a children’s toy, but it was never intended solely for children. For me, it holds deep significance, not just as a gift I receive instead of an ‘Insta-sexy’ bouquet of hundreds of roses, but as a symbol of friendship, love and memories; like a soldier, I too travel with it in times of solitude, and with each one I have a story and a bond that spans time.
In my series I’M O.K.,they are united not merely by destruction, but above all by an idea; their wounds are forged through goodness, human connection and emotion. They have suffered for their selfless hearts laid bare, yet they have remained true to themselves. They do not weep; they do not complain about how unfair fate is. They smile. And they declare to the world that they are O.K.
My entire creative process is a reflection of my most polished mirror; that is why, even though I create monuments with the lightness of being—on a wall, on a nail—teddy bears that spoke the truth and were met with lies, or plaster sculptures with bittersweet expressions and see anything and everything, my signature style and energy are ever-present.
My work is self-sufficient, unconditional. It carries its own impact within it; though it weighs but a few kilos, it can bear the weight of you sustaining you whether you are at your most unbearable or at the very best version of yourself.
Each of them passed through fire, cleansed by salt, fashioned by moonlight; created now, they remain forever.
Autarchy specific
Fire. Thermodynamic breakdown is the key: a change in the material’s state, temperatures of 70–110 °C, and distance.
And above all, time. Time is more than a variable in the process. Nicol holds a shape of time: she does not separate the past from the present, and within the present she creates the future.
III. PERCEPTUAL MULTISTABILITY & SOMATIC AWE
The Polyadic N-ary / SD-2™ Proprietary Technology system systematically rejects immediate, unified informational delivery. It operates as a complex relational network where multiple mutually incompatible semantic, formal, and chromatic layers exist simultaneously but cannot be processed or decoded simultaneously. This relational variance forces an active cognitive vigilance and an unmediated experience of aesthetic awe. The viewer's pre-semantic physical perception is updated and confronted with unyielding physical facts and reduced informational entropy, organizing the human somatic state before the conscious mind manages to linguistically categorize the visual field.
Created now, staying forever Even if you are unbearable, they will stay.
