Ist Bildhauerei nicht vor allem dazu da, dem Unglücklichen zu helfen, ihn aus tiefstem Elend zu retten und demjenigen seine Seele wiederzugeben, der sie verloren hat?
Die Wärme in die Kälte, die Schönheit in das Glänzende der Wahrheit. Darin liegt Liebe.
Nicht in Sehnsucht nach der Vergangenheit sondern in der Schöpfung der Zukunft.
Mit meiner Darstellung von der Form suche ich die Eleganz und die Schönheit, es ist ein langsamer Entwicklungsprozess ohne Ende.

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The journey started after the arrival here with the onset of spring and departure of winters. There were footprints everywhere of departing winter. Outside the door, under the trees, near the river, everywhere winter was leaving its marks for the spring and summer to cover!! I started to collect them and began to make small shrines for the remains of mighty winter. The ‘shrines’ came from temples where they serve as an important element for the representation of deities. The shrines became smaller and brought with them some old parts of my practice.
The mark making with the help of Sanganeri handmade paper (it comes from a small village called Sanganer near Jaipur. The paper is been made by people called ‘Kagzis’ from many generations and not sold in any shop in India) became epitome of the existing mark making in my works by pen, pencils, colors and charcoal.
The collected stones that gets stuck under my shoes while walking by the river, the fallen pieces of tree barks with moss, the leaves, pine needles and the hails that fell in mid April and other materials became objects of my interest and found their way back to my studio. I targeted to give them spaces in the shrines I was making but then also decided to give them their own individual space (without a shrine) and use some stories to describe their way into the space given to me here.
Through these I want to tell stories of my present that became important as they were about journeys and experiences; along with the stories of past told by my father in the form of many poems. To all this collection of objects and its making I want to call as ‘Museum of Memories’, the recollections from the past amalgamating with the retentions of present.

Markéta Jáchimová was born in 1988 in Domažlice, Czech Republic. She studied art at various schools, including the High school Zámeček in Pilsen and the Universiti Institute of Art and Design studied illustration and fellowship on Glasgow School of Art. In 2009 she moved to Prague and continued her studies at the Academy of Arts, Architecture and Design where graduated bachelor degree in sculpture and a master’s in painting . Though her beginnings were as an engraver and painter, by 2009 she had turned her attention to sculptural work, for which she is now highly recognized by having many shows with various institutions in the Czech Republic. Markéta Jáchimová’s early sculpture is composed of organic materials, such as human hair, plaster and found wood. In the last years she began to execute her work in crystal and glass and the pieces themselves have become larger and more referential to what is becoming the dominant theme of her work: her childhood. She once said to me: “My childhood has never lost its magic, it has never lost its mystery and it has never lost its drama.” Deeply symbolic, her work uses her relationship to the body and the role trips to forest played in her early family life as a vocabulary through which to understand and remake history. The anthropomorphic shapes her pieces take—female and male bodies are continually referenced and remade—are charged with sexuality and death and the interplay between the two.