Sára Matysová, DiS.


As the first education system, Bauhaus started to support and develop the fantasy of its students. As part of my project I decided to follow the path of fantasy full of colours, shapes and modern textile technologies that are reflected in the OSKAR collection. 


Within Bauhaus I found my primary inspiration in the work of the multidisciplinary talented artist Oskar Schlemmer. The starting point became his The Triadic Ballet as one of the most significant scenic works of modern times. The outcomes of Schlemmer’s experimental laboratory reflected theoretical thinking of the artist about the ideal of rendering the immaterial, abstracted and/or mechanised human body in space. 


In a free variation I attempt to analyse individual ballet scenes and consecutively transfer the material scenic space with emotional drawing sketches onto a textile in order to recreate the scene in 2D. The wooden objects are approached in an opposite way, in which I turn back to space with intersecting textile motifs. 


As one of the most influential schools of the modern day, Bauhaus was tightly linked to industrial production and used the most modern technologies to date. Out of this reason, I decided to use contemporary technologies as for example machine embroidery, digital print as well as the unique Czech technology called Art protis. 


Art protis technology was developed by the Research Institute of Wool in Brno as the Czechoslovakian patent in the 1960s. Artworks created using this technology were awarded a gold medal at the World Expo in 1967 in Montreal and in Osaka in 1970. Currently, there is only one machine located at the High School of Art and Design in Brno and only one person in the world can control it. Wool insulating batts in arbitrary compositions are used as a foundation and are stitched in the way that the resulting composition perfectly matches the original design. Such material is ready for a line of stitches in regular intervals to the foundation on a special machine. 


Digital print enabled me to implement the meticulously detailed drawing sketches that need adjusting with modern display technologies before the final print. Concerning the digitisation of drawings created by hand, a more complicated process was employed including scanning in high resolution and followed up by computer editing in order to match the original drawing sketch. 


As a modern technology of the 21. century, the machine embroidery is fully executed using the software Tajima according to the preparatory sketches. The outcome is a reflection of entirely automatised processes. The resulting motif in all available technologies shows the lowest number of mistakes, however, at the same time demonstrates a certain alienation of the author from his work. 


 Despite using modern textile technologies, the OSKAR collection as a whole manifests a high proportion of handmade work making it more personal. 



While designing the Elementa collection I used a material for making glass beads of Preciosa. Nature is my source of inspiration, which I later reflected in a series of experimental samples, mirrors and cylinders made of waste material from glass beads. Primarily, I was interested in silicon elements that are part of the glass sector and necessary for the final shape of the glass beads. Throughout my work I was asking myself where the specific sand comes from and what kind of impact the production has on our environment. Preciosa uses glass sand from the region of Bohemian Paradise (Český ráj) mined in the village of Střeleč. Local inhabitans from the heart of the national parks are concerned about the huge overground mines polluting the environment and its negative effect on landscape, air and underground waters in the surrounding area. 


Sand is becoming a natural commodity and the main material for building and glass sector as well as many other industries. Given the steadily growing demand for using natural resources, sand and stone have become the most mined materials in the world. Climate change, pollution and/or declining water resourceses are the main global issues. Mineral resources, however, are being for the most part ignored. 


Conference organised by the UN Environment, GRID (Global Information Database) and University of Geneva in the mids of October 2018 in Geneva confirmed that at the moment people annually excavate more than 50 bilion tons of stone and sand. Five times more than cole. It is predicted that each year excavation of stone and sand will globally increase. In 2030 it should reach up to 60 bilion tons. Asia is the biggest global consumer of sand. The most affected areas are third countries where illegal and non-regulated excavation takes place and causes soil erosion, shortage of underground water and has negative effect on people’s lives. 


Mirror is the object of everyday use and enables man to look at himself in the face. I work with mirrors as fragile objects representing human civilisation, which I perceive as easily vulnerable. With the mirror reflection I attempt to reflect on issues related to an excessive excavation of sand and superfluous waste material in the glass sector in general. Principal element of mirrors as well as one of the main building materials is sandstone representing the gift of nature. It is intentionally left in its natural raw form with minimal human intervention. Raw sandstone protects the mirror from breaking and carries not only the mirror, but also glass beads as a human product with its original decorative function. Glass beads decoration makes up the reverse mirror side and points to the side waste. Preciosa produces about 10 tons each year and it does not have any other significant utilisation. Preciosa is not able to recycle this waste material in its day-to-day business. 


The mirror shape is deformed and based on a circle symbolising infinity and perfection. The circle is deliberately degraded, with which I want to point out human imperfection and the fact that man often takes more from nature than he gives back. In this university term I decided to work solely with glass beads. I want to explore the borders and possibilities of this material under different temperatures. I realize how energetically demanding this process is. During my production I always attempt to lower the temperature at the lowest possible minimum. Glass beads are smelting at 610 degrees and I try to maintain its original structure. They are then formed into elementary forms of cylinders. I decided to use these formes in order to present new usage of the material in simple curves and forms. The cylinders are made at different hight levels with different diameters. We could perceive them as solitary objects or as objects for our everyday use. 

 The installation enables us to oversee the path of a glass bead from the original natural material to a possible alternative work with glass beads as unused waste material and furthermore as a reflection of ourselves in the mirror. 




There are many different ideas about the origin of life on Earth. What is without question is that water is totally necessary. In my project Hydrocollection I focus specifically on water as one of the most important natural elements. Hydrocollection is inspired by the journey of residual sea water - Vincentka on the Earth’s surface. In particular, I emphasise the land of my country that thanks to the contained minerals and biogenic elements makes the water unique not only in the Czech Republic but also worldwide. 


The dialogue between water and land is reflected with hi-tech material called hydrogel that is able to absorb up to 99% of water and lycra representing a material of the 20. century. Another important material for me is PVC, from which I created a set of floating objects intended for relaxation on water. Hydrogel mixed with pigments and mineral water Vincentka leaves a special pattern on the textile, which becomes unique and unrepeatable with each application. Gold patterns refer to structure of geological layers, which the residual sea water paves its way through. Blue gradient paraphrases the link between the underground and overground and represents the final product - Vincentka springing on the Earth’s surface. 


The resulting patters are applied on lycra, which is the most natural material for water and became ideal for creating a collection of swimsuits inspired by the dialogue between water, Earth and man. The result is clothing that in the most natural way renders the natural circulation of water - Vincentka. 


Swimsuits are complemented by floating vests that enable us to sense the kinetics of the water surface and completely relax. The collection of floating objects is based on a perfect circular shape that is selected to individual regular modules of different lengths coinciding with the water surface. The open holes encourage us to develop our own fantasy. 


Technological Process 

Hi-tech material called hydrogel became the ideal material to hold mineral water and pigments in an amorphic shape. In the first stage I let its crystals be absorbed by Vincentka and mixed it with blue pigments. After creating a stable gel I applied the hydrogel mix on textile and let it work until all the water from hydrogel evaporated. At first the textile samples were dipped in Vincentka in Petri dish. After the liquid evaporated, mineral structure - a cruicial part of Vincentka - emerged on the textile. 


These structures inspired me to create gold patterns on the swimsuits to make visible the most important content of Vincentka - unique biogenic and mineral patters. I formed the structure into mineral shapes and transfered it to graphs in a computer programme; later I laser-cut them to a golden iron-on for all types of textile. I put the resulting mineral shapes in diverse compositions and with the iron-on transfer machine I ironed it on the swimsuits. The blue gradient is hand-painted with pigments used for colouring textiles under cold temperature, without fixation and washable in sixty degrees. 


The cut of swimsuits is made according to the spa fashion from the First Republic, when women used to cover themselves more than today. The design is my own decorated with a tying roll-neck that in its final look creates an element of the 21st century. 


 I was able to produce the floating vests according to my own technical documentation in Fatra Napajedla. 






























E-mail: matysovasara@gmail.com

Phone number: +420 604 850 602

IG: https://www.instagram.com/matyssova/

WEBSITE: https://matysova.cz


Sára Matysová, DiS.

E-mail smatyso@vsup.cz
E-mail soukromý matysovasara@gmail.com
Zařazení / Funkce
Textilní tvorba / Student
Studium probíhající
ateliér Textil, Bakalářský studijní program Výtvarná umění (B8206), obor Design (8206R100), 3. ročník