Acknowledgements

Thank you to the following for their kind reviews of my work:Prof. PhDr. Miroslav Klivar (painter, writer and art critic)for opening my eyes to the world of Czech and European art

my life-long mentor Prof. Om Prakash Sharma (former Principal of College of Art, New Delhi, India, and a contemporary Indian Artist)

prof. PhDr. Peter Michalovič, PhD.Department of Aesthetics, Faculty of Arts, Comenius University, Bratislava, Slovakia

A special thank you to all my friends and family...my parents Anton Fric and Lenka Fricova for their incredible all-around support. Without you none of this would be possible.

...my brother Petr Fric, the much loved “annoying little brother”

...my valiant team: Leo Cross and Jonny Wheeler for being there for me in work and life, and helping me see more then one project through (from brainstorming, to technical troubleshooting at 1am, caffeinated all-nighters, and at long last realization)

A warm thanks goes to Hana Pinkavova, Olga Spatova and Jan Hala for a once in a lifetime opportunity and the wonderful memories I will take from it.

My thanks to Mr. Ravi (Ravinder Kumar of WHO SEARO, New Delhi) for his incredible patience, organisational skills and making even the impossible possible!

Thank you for the invaluable English translations by Mgr. Eva Fricova, Statna jazykova skola, Presov, Slovakia

Promotional Materials Printed by: MVPrint & Graphics, Masarykovo Namesti 14, 25101 Ricany

1.

Personal Statement

My creative practice is a mix of merging disciplines, spanning

across fine art, graphic design and illustration. I entered

university with a fine art background and went on to study

Graphic Design at BA level. My work is a symbiosis of my

Czech heritage, international education and the influence of

my Asian muses. Asian culture and visual style has soaked into

my work on a subconscious level because of my experience

of growing up and living in India, Indonesia, Nepal, Myanmar,

and Thailand. The incredible experiences I carry from all these

places essentially became the canvas upon which I created

my paintings; it is also what accounts for my particular

style of work as well as my general outlook on life. I have

incorporated all this into my unconventional concept of

home, similar to a snail carrying its shell wherever it goes. I

do not think of myself as belonging to one nation or people, I

consider myself an international citizen of the world and this

mentality has transferred to my art. Art, which embodies the

cultural influence of both the East and West, and speaks of

coexistence and great tolerance.

2.

“LADI”Ladislava Fricova Bohacova

Born on 10th January 1988 in Prague, Czech Republic.

Education:

Graduated from the American Embassy School, New Delhi (AES) in

2006 with an International Baccalaureate Diploma.

Completed the Foundation Diploma in Art and Design course, at

the Arts Institute at Bournemouth (AIB), United Kingdom, in 2007.

Completed studies on a Foundation Degree in Visual

Communication at AIB.

Graduated with a Bachelor of Arts (Honors) in Graphic Design at

the Arts University College Bournemouth (AUCB) in 2010.

Currently admitted to a Master of Arts in Graphic Design at the

University of Arts London (London College of Communication).

3.

Group Exhibitions:

2006 “International Baccalaureate Art Exhibition” Art Gallery of the American Embassy School, New Delhi, India. 2006 “External Affairs Spouses Association Exhibition” Inaugurated by Prime Minister’s Manmohan Singh’s wife, Maurya Sheraton Hotel, New Delhi.

2006 “Art Ahead” exhibition by the University of Arts London, at the Indian International Centre, New Delhi, India.

2007 “Foundation Diploma Exhibition”, AIB, Dorset, United Kingdom.

2007 “Impression 2007”, Travancore Art Gallery, New Delhi, India.

2007 “Tales of Textures”, Travancore Art Gallery, New Delhi, India.

2008 Embassy of the Slovak Republic, New Delhi, India on the occasion of the visit of a Speaker of Parliament of the Slovak Republic.

2009 Fda Visual Communication Degree Show, at the Arts Institute at Bournemouth, United Kingdom.

2009 Design & Art Direction (D&AD) New Blood (Fda Visual Communication, AIB) Olympia, London, United Kingdom.

2010 BA Graphic Design Degree Show, at the Arts University College Bournemouth, United Kingdom.

2010 Design & Art Direction (D&AD) New Blood (BA Graphic Design, AUCB) The Old Truman Brewery, London, United Kingdom.

Solo Exhibitions:

2008 India Habitat Center, Gulmohar Auditorium, New Delhi, India. Exhibition of works displayed on the occasion of the European Year of Intercultural Dialogue.

2008 “Step by Step” Exhibition at the India Habitat Centre, New Delhi, India.

2010 “Dreamworlds” Exhibition at the Brooks Gallery, Prague, Czech Republic.

4.

Private Collections:

“Bastet and the Eye of Ra”acrylic paint on canvas Czech diplomat at the Czech Embassy in New Delhi, India.

“Chinese Dragon”acrylic paint on handmade Indian paper Embassy of the People’s Republic of China in New Delhi, India. Given on the occasion of the 2008 Beijing Olympics.

“Golden Dragon”acrylic paint on handmade Indian paper Golden Dragon Restaurant, C - Block, Vasant Vihar, New Delhi, India.

Prints of “Ode to Nepal” High School Principal’s Office, American Embassy School, New Delhi, India.

Beth Miller-Manchester (Assistant Principal), American Embassy School, New Delhi, India.

Print of “Ode to Myanmar” Dr. Myint Htwe, World Health Organization, New Delhi, India.

Print of “Kinnaree” His Excellency Mr. Chaisiri Anamarn Ambassador of the Kingdom of Thailand to the Czech Republic

Dr. Samlee Plianbangchang, World Health Organization, New Delhi, India.

Print of “Lady with the Golden Fan” Dr. Than Sein, World Health Organization, New Delhi, India.

5.

Prizes:

2008 World Prize of Salvador Dali for significant accomplishment in the field of fine art.

2010 European Prize by the European Union of Arts

2010 World Prize of the World Union of Culture for Artistic Endeavour “which actively contributes to the cultural understanding between the East and West”

6.

Media:

Ceska Televize “Udel Nadani” Documentary (airing in early 2011)selected as one of five talented young Czech people of 2010 for the documentary

May 1st 2006Hindustan Times (HT City)“Artonomics yet again...” by Rewati Rau (Around Town, p.2)

May 5th 2006Hindustan Times “London Linkages” by Shraddha Shaw

“Tales of Textures” Catalogue by Art Elements Gallery in Association with BNP Paribas Private Banking (p. 53 & 58) 2007

Art India Magazinehttp://www.artindiamag.com/quarter02_08/listing02_08.html

7.

. (Work in Progress) .

8.

. Dreamscapes Series .charcoal and dry pastels on handmade Indian paper

230cm x 120cm (each)2007

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12.

The artistic name of LADI has recently appeared in paintings made by Ladislava

Bohacova Fricova, a Czech artist. During her years of stay and study in Asia (India,

Indonesia, Myanmar, Nepal and Thailand), she has been exposed to the ancient cultures

of that part of the world. Ladi has created a cultural bridge between European and Asian

cultures. She uses various techniques, such as acrylic on canvas, pastels, watercolours,

ink, and various digital techniques.

In her works of art we can distinguish several styles. Firstly, there are works

inspired by philosophy of the Far East. There is a feeling of the philosophy of Zen, which

looks for a timeless moment, for a point of no dimensions in which there is no duality,

for an attempt to soar above this world’s norms. With the works of LADI we enter into

the realm of emptiness where thinking in notions ceases to work. Each moment of our

lives becomes a step of infinity. Master Po-chang used to explain to his students what

life in Zen is, as follows: “Don’t be clinging, keep on exploring!” LADI the artist looks for

“an original thought, an original mind”, she strives to understand the ego as a false self

and the very centre of being as a true self. She strives for an insight into the primordial

naturalness, she searches for a sudden enlightenment. According to Master Hui-hai, the

sudden enlightenment means to shake off the vicious circle of errant thoughts.

The insight into the primordial naturalness can be seen for example in the

painting “Rhythmic Animalia” (2004), in which the artist works with the motifs of

maternal love, in the central black-and-white detail, next to the struggle of a man-

hunter with wild animals as a symbol of survival. The painting as a whole expresses

what is common for philosophies of the Far East – Advaita, Yoga, Lamaism, Zen, etc.,

i.e. which is spontaneity and naturalness. The artist feels that the intellect acts as an

obstacle to this insight and, therefore, she converts the motifs into symbolic forms,

such as a choppy symbolic head or stylized creatures in the form of mythical birds, etc.

Reincarnation of souls is evident in this art. The highest intensity of symbols is presented

in paintings inspired immediately by natural motifs, as it can be seen in the painting

“Rhythmic Plantae” (2004).

In fact, these natural motifs represent the second style of the artist which

could be originally called “an entry into the naturalness of Nature”. Here, we can find

natural energies and elements, but there is also a skeleton as the symbol of Death.

The contradictions of eternity: life and death. We remember the wisdom of the Vedas:

the higher nature surpassing the material nature is eternal. It has no history, no origin,

neither a beginning nor end. According to the Vedas, there is another unexpressed form

of nature eternally present in the transcendental expressed and unexpressed matter.

It is the highest one and, as such, will never be destroyed. LADI the artist creates “the

spiritual heaven”, for example, in the painting “Crystal Ball to India” (2005).

The third style in LADI’s art consists of her mandalas. She has thoroughly studied

the history of mandalas, so she knows very well that mandalas and jantras are ritual

diagrams used in Tantrism and Tibetan Dharma. The artist has been particularly inspired

by the Hindu jantras used during the meditations of the circle jantra. In each jantra there

is a symbol of divinity. Each being has its own symbol.

13.

LADI understands the mandala as a sacred abode in which divinities dwell. In

her works we find deep understanding of the fact that a form of the Hindu mandala is

partially derived from the architecture of a temple. For example, what we find there is

the representation of cosmos, because many Hindu and Buddhist works, for instance

the temples in Lhasa, were built according to the mandala principle and contain the

cosmos representation. The artist also knows that, in addition to the temples, large

Buddhistic stupas (e.g. the stupa in Sanchi) were also constructed according to the

mandala principles. The principle of the world axis appears and the artist strives to join

the cosmic and the human.

This principle is felt in the painting “Ode to Nepal” (2004); however, at the same

time, we can observe that the artist respects different levels of the mandala ritual where

Buddhists use specific mandalas with engraved syllables (mantras and dharani) as magic

talismans. In the center of mythical cosmos there is the mountain of Meru, its axis.

However, LADI has created a completely special symbolic world which does not copy

the standard mandala principles mechanically from a historical point of view. Her world

emphasizes the mandala symbols so that it unites human and cosmic symbols without

overestimating perfection. Because of this, the artist does not always position Buddha

the Sublime or Buddha the Wrathful, neither one of Buddhas in arms with a companion,

in the center of the mandala. Next to the perfection, we also find the sansara: woes,

changes, and a moral imperfection. Here, the tension between the sansara and the

nirvana is essential. While a meditating person is getting rid of shortcomings, mandala

symbols start to blend. In this context, LADI’s mandalas represent a microcosmos. This

is how we perceive and understand the ritual diagrams in LADI’s works. The difference

from the classic triangles is obvious at first glance. Tradition teaches differently. The

triangles directed upwards or downwards – according to the male or female divinity

– unite. The triangles are surrounded by circles symbolizing protection and by flower

petals, which accompany the divinities. It seems that LADI the artist has been inspired

more by those Buddhist mandalas which show Buddha’s teaching, circle of life, and

cosmic trees. In short, the mandalas of a human being and of Nature dominate. In

my opinion, LADI the artist creates mainly “the inner mandalas” which may induce

the atmosphere for meditation, at times requiring the soft glow of candle light. What

dominates is the representation of energy, we can concentrate on the inner energy

in the painting, the energies of the human body and the soul. The perceiver reaches

enlightenment. The perceiver strives for cleansing: “I am the soul, not the matter”.

The fourth style of the artist is only loosely related to the previous one, but we

could call it originally “a style of mystic energies”. This includes the paintings “Mystic

Mandala” (2008), “First Flame” (2008), as well as “First Spring” (2008) and “Rain Sending”

(2008). According to the fourth mantra, the energies of the Lord can be divided into

three main categories: the inner energy, the marginal energy and the outer energy. For

example, in the painting of LADI fire does not burn in one place, but spreads its heat all

the way around. The Absolute Divine Personality transmits power in all directions. Living

beings are born of the outer energy. The material world is created by the Lord’s outer

energy, the spiritual heaven is the presentation of the inner energy, as the wisdom of the

Vedas is recalled.

14.

The fifth style of LADI the artist immediately builds on the postmodern art of

the 20th century. The painting “Me in Four Colors” (2005) reminds us of Warhol and

the post-pop-art in today’s culture. What dominates here are feelings typical for our

civilization of advertisement and the world of audio-visual culture. The surface is

decorative, the colors are bright and purposely contrasting. The artist does not follow

modern techniques of a screen print used by Warhol and the likes, but she uses an ink

technique, with the result of bigger volume compared to plane ink. The artist does not

want to multiply her works (as pop-artists do) in high quantities.

The sixth style of the artist, different from the technically perfect use of photo-

technique in a picture, from a computer schematism, develops digital approaches on

a graphic tablet. Thus, the graphic is the basis, and photo-techniques with a help of

the computer are just auxiliary. As a result, a graphic character of the art works, with

domination of graphic modulated line, can be observed. Colors are not cold, they are

understood in an artistic concept as a lyric association, where various subconscious

ideas connect into chains of forms. The background is of a painting, there are imaginary

landscapes into which a graphic fantasy of drawings is planted. The artist strives for

spiritual content, the meditations and contemplations return again as in her mystics.

The artist succeeds in overcoming the computer fallacy by the vibrant colorfulness.

The vibration reminds us of natural atmospheric changes. That is why this style of the

artist may be called “a vibrant abstract contemplation”.

The second level of the digital style in the development of the artist stems

from the inspiration by the so-called new figuration of the 20th century, where the

mystic symbolism of an ornament connects with the real psychology of a figure. A

conventional feminine gesture is often revived namely with the help of mystic radiation.

Photo-techniques drive the artist close to the anonymity of a figural representation,

and, at the same time, an artistic concept drives her close to the expression of the

figure’s identity. This struggle is typical in the works from 2008 (Desiderium, and others).

Some works reach the borderline of magic realism, where the surrealist concept of

dreaming starts to dominate.

Thank God for the art of LADI and we wish for her art to keep us in the state of

transcendental bliss!

August 2010 Prof. PhDr. Miroslav Klivar European Union of Art

15.

. Rhythmic Animalia .charcoal, dry pastels, and coloured pencils on paper

50cm x 60cm2004

16.

. Crystal Ball to India .dry pastels, watercolours, coloured pencils, and pen on tag board

55cm x 60cm2005

17.

. Yogi .oil paint on canvas paper

30cm x 40cm2010

18.

. Nature’s Flow .oil pastels and coloured pencils on paper

25cm x 40cm2005

19.

. Personal Mandala .photocopy transfer and acrylic paint on tag board

70cm x 70cm2004

20.

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. Mystic Mandala .acrylic paint on canvas

120cm x 120cm2008

22.

. First Flame .acrylic paste and oil paint on canvas

110cm x 110cm2008

23.

. First Spring .acrylic paste and oil paint on canvas paper

40cm x 30cm2008

24.

Living the Postmodern Experience

In the context of the Czech and Slovak visual arts, the name of Ladislava Fričová Boháčová aka LADI is not well-known yet. This is not because the artist has not created enough artifacts deserving of our attention, but due to the simple fact that although she is of Czech and Slovak origins, she is about to enter this (i.e. Central European) territory by an indirect path. She lived in Asia for many years, and has therefore had the opportunity to encounter various visual cultures of several countries which we consider exotic. Consequently, this experience is reflected in her artistic creations. If I were to offer a key to understanding LADI’s art, I would recommend focusing on the following four paintings.

The first one would be the painting entitled Ode to Czechoslovakia (2007) since this is the one that represents - at least for me - the culture our young artist sprang from. Given the painting’s name, it becomes clear that she left for Asia in the era of Czechoslovakia’s joint existence, which was quite a long time ago. Evidently, there are mostly memories instead of direct experiences which bind LADI to this region. So, she uses the imagery, symbols and well-known characteristics related to Czechoslovakia, but she does this in a way belonging to neither the Czech, nor to the Slovak or any concrete Asian visual culture she has maintained a more immediate contact with. As a result, her painting is comprised of an in-between style born of the dialogue of two - or more - cultures. The same can be said about the following three paintings, namely Ode to Nepal (2004), Ode to Indonesia (2005) and Ode to Myanmar (2008). The names themselvs suggest that they are pictorial expressions of LADI’s admiration of the three countries in question. Expressions, which on one hand work with fragments of the visual arts from these respective countries, but on the other hand the way these fragments are transformed, the way they are subjected to the laws of composition reveals the position the artist is coming from, which is not one of an insider, but an outsider. However, to be perfectly clear, I am not saying this in a negative connotation. On the contrary, it is her position of distance, of stepping back, which enables her to process the stimuli coming from different visual cultures in a new way.

I will conclude with the following remark: at first glance, it seems possible to position Ode to Czechoslovakia (2007) contrastingly with the three remaining works cited. However, through detailed observation it can be said that all four paintings actually form one cycle, even if perhaps this was not the author’s intention at all. The cycle is more than the expression of admiration of the four countries depicted in the paintings, above all it is the revelation of the basis of the artist’s signature style. Here we can use the term “postmodern” as a suitable one, despite its large semantic scope. This term is still able to “cover” the radical plurality of artistic styles and schools. I am speaking of plurality which is able to provide the foundation for multiculturalism in its various forms, as well as for globalism. These are the aspects of cultures which LADI has had the chance to experience immediately and directly. The rest - that is, how to articulate this experience in an artistic way - is up to her.

prof. PhDr. Peter Michalovič, PhD.Department of AestheticsFaculty of ArtsComenius UniversityBratislava, Slovakia

25.

August 2010

. Ode to Czechoslovakia .acrylic paint on canvas

80cm x 100cm2005

26.

. Ode to Nepal .acrylic paint on canvas

80cm x 100cm2005

27.

. Ode to Indonesia .acrylic paint on canvas

80cm x 100cm2005

28.

. Ode to Myanmar .acrylic paint on canvas

80cm x 100cm2007

29.

Quotes & Comments (from “Step-by-Step” exhibition):

“Your colors – are like the touch of the Sun; and your painting – is like a journey across half the world. Thank you.” (Prochazkovi, +420 317 723 509)

“Very thought provoking, soul searching , touching to the core.” (Pushpa Singh, ph. +91 9818497318)

“A mystic world which is beyond the imagination.” (Ramen Sarkar, F-267, 2nd Floor, New Rajendra Nagar, New Delhi-110060)

“Thought provoking. Well managed cultural as well as mental scapes.” (Nazar Khan, +91 9871351516)

“I am increasingly delighted by the exhibition. Ladi is very much influenced by Indian philosophy and the Mandalas have been beautifully captured in her painting.” (Sameer Kumar, sammer-61@yahoo.com )

“I’ll have some piece of India in my heart from these pictures.” (Ivan, Russia)

“Thank you very much for this nice exhibition. It is very interesting. I really love 3 pieces about dreams – they are both spiritual and well-made, and it is very important for me, as far as I’m an artist. The very good thing is that you use pastels and hand-made paper – these two materials I love.” (Maria, Russia)

30.

Quotes & Comments (from “Step-by-Step” exhibition):

“I love the colors and vibrancy of feeling in your work. I hope that you will find on your journey the depth and meaning that you’ve been looking for, and some answer to the many questions you have. God bless you and your search for life and experience of love.” (Indi dayrise@gmail.com )

“Ladi, thanks so much for your creativity and courage to put on your first show in the country that is a part of you. All the best for your future as an artist. I really appreciate your works and the openness of your expression.” (Stefan Eicher, ph. +91 9810859579 seicher@fhi.net )

“Ladi’s paintings are indeed very exotic. I would like to include her works in the Group show curated by Reddot Art Gallery – www.reddot.in (K.K.Majumdar)

“First flame” is fabulous. Very good mix of styles.” (Gauri Sharma, ph. +91 9899593089)

“Most impressive solo show I have ever seen.” (Vimal S. Mehta, FIPA – Forum of IndianPhotographic artists, +91 9810386090 FIPAINDIA@gmail.com )

“Very fresh ideas expressed with feelings of lovely colors. Very inspiring work.” (Ashok Sharma ashok_sti@rediffmail.com +91 9871722366 )

Opposite Page: photos from inauguration of “Step-by-Step” exhibition, New Delhi India.

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© Copyright LADILadislava Fricova Bohacova

Tehov 57, 25101 RicanyCzech Republic