The original Thanksgiving exhibited in 2015 within the spaces of Gallery of the Central Bohemia Region (Galerie Středočeského kraje), Kutná Hora, for The Sculpture – Daniela Vinopalová and Monika Immrová (Socha - Daniela Vinopalová a Monika Immrová) for the exhibition © Courtesy of GASK Kutná Hora
Factum has the privilege to spend time concentrating on the work of less well-known artists such as Daniela Vinopalová (1928–2017), a Czech sculptor, whose abstract works have seldom been seen outside local circles. With the efforts of the artist's family and the London based advisory Stephenson art, the oeuvre of the artist is being rediscovered.
As curator Adriana Primusová has written, ‘the high point of her post-1989 work was the sculpture Thanksgiving/Díkůvzdání (2007), in which the artist expressed thanks for everything that exists beyond humanity, and, after suffering from some illnesses, for the opportunity to be able to devote herself to her work again. After many years she again created a soldered structure of wires, which she used to create drawings in space, filled them in with mesh, gauze, and plaster. The work captured the flow of invisible lines of energy marking out a spiritual zone in the shape of a ‘cosmic egg’.
This fragile work was recorded in May 2019 by a Factum Foundation team using photogrammetry. The digital data was then 3D-modeled, 3D-printed and finished within Factum Arte's workshops in order to be cast in bronze at the HVH Artist Foundry in Hostinné.
The original (left) and the render (right) © Factum Arte
3D-printed model of Daniela Vinopalová's Thanksgiving (2007), next to a reference photo © Oak Taylor Smith for Factum Arte Courtesy of the Estate of Daniela Vinopalová
Juan Carlos Arias working on the final touches © Oak Taylor Smith for Factum Foundation
Thanksgiving's 3D model, photographed from different angles © Oak Taylor Smith for Factum Arte
Detail of the finished surface © Oak Taylor Smith for Factum Arte
Materials from the monograph, Daniela Vinopalová, 2015, authored by Richard Drury, Pavla Pečinková and Adriana Primusová, were used in this text.