Mgr. Nicol Rubá Vošmíková RUBART

Mgr. Nicol Rubá Vošmíková RUBART is a professional sculptor and creator of object installations.

Recognized by the Czech Ministry of Culture, she is the recipient of the Attestato di Merito Premio Artista d’Europa, a three-time finalist in the prestigious Curatone.art Berlin competition, and an innovator of her own artistic technique incorporating blockchain protection and NFTs.

Her impressive curatorial track record includes selections for the MUST and MAXXI museums, as well as exhibitions across the Czech Republic, Berlin, Venice, and Canada. In just six months of her professional career, her work has been featured in over twenty catalogs with ISSN/ISBN numbers.

She creates sculptural works based on canvas and immersive object installations that move freely between painting, sculpture, and spatial intervention.

Across scales, temporalities, and paradoxes, she explores how space transforms human perception and bodily orientation before it is consciously interpreted.

Her practice focuses on the conditions under which a state of awe arises, on how the body reacts before language, to what extent perception is influenced by subsequent naming, and how perceived danger transforms into a sense of safety.

The body adapts to the object just as the object adapts to space.

She is interested in the phenomenological impact of an object through pre-semantic perception, embodied perception, and spatial presence. Her installations deliberately delay conscious identification and create perceptual situations that engage the viewer cognitively, physically, and emotionally even before interpretation takes place.

The objects function as autonomous spatial elements that influence the spatial configuration, acoustics, bodily orientation, affective regulation, and the viewer’s perceptual experience. Through perceptual dissonance and somatic consonance, they create a relationship between the object, the space, and the viewer that arises before conscious recognition and shapes a pre-semantic bodily response.

Each work is unique in its scale, effects, and language. Some speak through defiance of the laws of physics; others highlight history through a shifting color spectrum. However, they share a common foundation in the material, concept, and technique of Saphea Phenomenal Spatial™️.

At the core of her practice lie the principles of leverage, gravity, and the balance of mass in space—some of the oldest laws by which humans have described the order of the world. The artist does not cite these principles as a historical reference but actively revives them in the present moment, beyond the time of their origin. This gives rise to *The Shape of Time*. Mythology functions here not as narrative content, but as a structural operator. The same rule of continuity that transforms chaos into order in Babylonian cosmology simultaneously governs the physical behavior of the material and the continuity of her artistic method across time. Cosmological, physical, and artistic order thus do not rest on mere analogy but share one and the same law.

Her technique introduces an innovation in the form of a paradoxical optical negation of gravity: a two-meter-long fossil made of canvas can be hung from a single anchor point or nail; some are even hybrid.

The objects are durable, suitable even for visually impaired viewers; some are unbreakable, others hybrid.

Each work is inimitable.

She does not create standalone works, but rather environments in which the object, the space, and the viewer become interdependent. The work is only completed by the viewer’s physical presence.

The creative process arises from an absolute correlation between a state of full presence and the physical manipulation of the material. It is intuitive, yet based on a repetitive, ritualistic principle. It does not stem from predetermined procedures or documented methodology, but from more than twelve years of technical experience, which allows him to approach each new work on an experimental basis, without a rigid, controlled framework.

The visual form emerges only once the structural integrity of the object has been established.

The works are created as monolithic objects of archival quality, protected against UV radiation and intended for long-term and museum installations. Illumination after dark reveals another layer of perception in the work and transforms the way it is perceived in space.