Back | Home

The secret touches of Milca Eremiasova's lacework

All art has one source, one spring, a sort of magma of intellectual strength, emotional turns and ideological fascinations. An artist's talent is the key that opens the door to this source of ancient material. It is a gift of kindness reflected into a concrete shape, a work, music, painting, statue or dance. It can also be the capability of passing on a message by means of an acting performance, virtuous musical performance, conducting concept, and melodic song or director's opinion. We can take pleasure in a number of other alternatives of artistic expression, whose convincing character is based on the capability of approaching the foundation of this basic source. In the completion of an artistic act, we then find another dimension: charm and fascination with the materials with which the artist chooses to work. The sculptor is addressed by marble, granite, and sandstone; the painter is struck by light and colour in hundreds of forms that we are unable to observe; the composer is filled with innumerable cascades of sound; the violinist creates a loving symbiosis with his instrument; the actor is filled with the sense and sound of text and movement; the dancer moves every muscle in his body; the conductor transforms music into gestures, with which he interprets the perception of the composition to the orchestra and the listener.

Milca Eremiasova found her world in lace and in the delicacy of all types of threads. She brings this world closer to materials like wood, thereby moving in the light of the oldest of resources, which have accompanied mankind throughout the millennia. However, her route has many personal characteristics, and she develops the traditional legacy with exceptional imagination into unexpected forms.

For centuries, lace was attributed decorativeness, charm and a filigreed beauty. It was intended to please and beautify and was evidence of grace and festivity. Understandably, it still has this reputation today and we can even find a number of Milca Eremiasova's works continuing in this direction. Her house signs, angels, theatres, architectural images and in a certain sense, even her lace jewellery can be ascribed to this category. Besides skilled manipulation of shape and form, these small works incorporate so many smiles and a world full of happiness. They also contain a significant measure of gentleness, the purest form of which is attributed to women.

Milca Eremiasova directed her strongest creative vision towards music. I would like to call this sphere of her creation a big, beautiful symphony of lace. A symphony, because like music of this form, her world contains musical inspirations from famous dramatic conflicts, contemplation, dance energy pathos and joy monumentality and a sense of detail. In these works her lace leaves behind flatness and moves into three dimensions (Martinu: "Cantatas"), combines with wooden torsos of tree structures Janacek: "Along an Overgrown Walk") and makes traditional white and flaxen beige bloom with delicate colour ("Touches of Music"), Milca Eremiasova does not describe music. Rather, she takes on the role of an interpreter, who transforms the musical message into new material through her own interpretation. That is why these works are so imaginative, inspirational and full of meaning like the music itself. However, music has also inspired the artist to create a number of images of musicians themselves. She is capable of faultlessly expressing the fascinating shapes of musical instruments, as well as the statuesque forms of the musicians.

The spiritual sphere and the Christian tradition contribute intense concepts to the work of Milca Eremiasova. Piety, crucifixes and innumerable images of the Virgin Mary with the infant Jesus, are seen as though through an unusual prism. Pity and tragedy find their place without being drastic. We can even admire the extent to which this inspiration stirs our emotions. The Virgin Mary and the infant (Jesus are not presented in the usual static form; she radiates a joy, which seems to flow from the composition. Even the Piety, again composed before a wooden background, expresses shapes approaching the stylisation of dance. This is not intended as a contradiction but rather to accentuate pity and pain without descriptiveness or naturalism.

An artist so connected to music could not be lacking in theatrical inspiration. Hamlet (Shakespeare), King Henry (from Anouilh's drama, Becket), are from the family of great dramatic expressions. Even here, she chooses colour as part of the message. Understandably, drama is related to theatre in a wider sense of the word, and also includes ballet (G. Lorca - A. Gades: "Blood Wedding", I. Stravinsky: "Firebird"). Fairy tales are also represented (J. Zeyer, J. Suk: "Raduz and Mahulena"). Milca Eremiasova has on one occasion experimented with film in the animated picture called "The Broken Bell".

In many of the artist's works, we can find natural motifs, very often in the sphere of musical inspiration, (Janacek, Martinu, Stravinskij). She has a very close relationship with nature and it became the independent subject in a number of opuses. A variety of images are dominant, suggestive of the sea. As if by magnetism, the artist repeatedly and joyfully heads along the road towards the ancient material that gave birth to all life on this planet. The various shades of blue literally absorb the viewer. The title of one composition actually expresses the depth of this relationship, "The Sea, My Love".

Works that are awkward to exhibit are therefore less known, and they include her monumental pieces designed for large expanses in architectonic compounds. The abstract, vertical and statuesque composition, "Black and White", represents this category.

Above all, the creative world of Milca Eremiasova has a particularly exceptional value, in which we can see the feature of the Czech artistic traditions: to carry a spiritual message, to join horizons and man, to represent the past and present, to illustrate the horror of tragedy with the desire for beauty in life and to have a characteristic yet perspective gesture. Her work touches all of these traditions and knows how to tune them into a convincing accord. Women are often endowed with the gift of wisdom and harmony. Milca Eremiasova, however, knows how to share it and transform it into a powerful language.

Jiri Pilka

© 2002 Milca Eremiasova, ArtForum / ICZ a.s.
All rights reserved