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 techniques, which she has systematized under the name Saphea Phenomenal Spatial. Her work is protected by a notary and via Bitcoin/Ethereum blockchain; likewise, each of her works is accompanied by an NFT and is available for sale in digital form. Her impressive curatorial track record includes selections for the MUST and MAXXI museums, a placement among the top 40 out of more than 1,100 entries at the prestigious contemporary art competition in Venice, where, among other achievements, she held one of her first exhibitions and passed rigorous international selection processes. In just 6 months of her professional career, she has held more than 25 exhibitions and has been repeatedly selected by jurors from the Genoa Biennale, winners of the Leonardo da Vinci Prize, and recipients of the Red Dot Award. Her credibility is further supported by over 20 publications with ISSN/ISBN numbers. Nicol does not use metaphors; she does not express herself in a language she would not use in other situations; and she does not separate her professional and personal spheres. Ever since I was a child, I’ve counted the stars and read Egyptian hieroglyphs; my upbringing is in harmony with architecture, my mind with the discipline of law, but my hands speak a language you can’t learn from books. I create at the point where logic ends and transformation begins. I am the bearer of a family legacy of names that built monuments and shaped the face of the new Ostrava. Now I spend hundreds of hours building monuments on canvas. Monuments that are hard to describe in words, hanging from a single nail and weighing less than a cat. I began these structures from places where others are afraid to even glance, and I knew that I would either choose to have my possessions and security but lose myself, or choose myself but lose everything. My life was shaken to its core, and I faced those darkest nights alone, because everyone I trusted had disappeared. But the world is full of people who compromise themselves for the comfort of others, and I discovered my own structures in rooms without keys; I didn’t cry, I didn’t wipe away the blood—I deepened something that, as the only thing, no one can ever take away from me again. Me and my dog Millie. My strictest curator, my “W. Mom.” Perhaps—and maybe that’s why—disintegration became key to my work; I’m learning to name so many things. I never aspired to be an artist, and so I found out who a curator is sometime in February or March.