My name is Jana Omelková (1982, Uherské Hradiště). My practice is a way of staying in contact with time, place, and personal experience. I understand it as a space where past and future meet, and where personal experience naturally intersects with everyday life. My work is not a separate activity, but part of a long-term, focused process that gradually unfolds over time.
My practice draws from the cultural landscape of my native Slovácko region and the historical legacy of Great Moravia, which I approach through broader considerations of structure, movement and the shifting qualities of landscape. I am interested in contrasts, rhythms and archetypal forms that gradually translate into a sculptural language.
I studied painting at the Secondary School of Applied Arts in Uherské Hradiště and later sculpture at the Faculty of Fine Arts, Brno University of Technology, under the guidance of Jiří Načeradský and Michal Gabriel. My artistic development was significantly shaped by international residencies at the Accademia di Brera in Milan and in Cluj-Napoca, Romania, deepening my sensitivity to material, space and form.
In my practice, I often respond to specific spatial contexts, ranging from scenographic projects to architectural and interior interventions. My current work focuses on conceptual vessels and small-scale sculptures made of Roman and Portland cement, where material solidity meets subtle expression. The work evolves in a natural dialogue with its surroundings, my family, and through long-term collaboration with my husband, an architect.
About me
Authorial context and work with material
The place whose history, tradition, and landscape naturally permeate my work is Moravian Slovacko. The materials I use are not a random choice, but an inherent part of this region.
The sand used for my concrete mixtures comes from the local subsoil of the Morava River, a landscape layered with prehistoric settlements, whose structure and character are indirectly reflected in the mass and surface of the objects.
I most often work with Roman cement, characterized by its subtle sandstone-like coloration, which makes it particularly suitable for interior objects. For outdoor use, I choose Portland cement, whose natural tone resembles limestone and ensures long-term durability in exterior conditions. Experimentation with pigments is also part of the process, always with respect for the natural qualities of the material and its behavior over time.
To increase the longevity of the objects, I apply a final nano-impregnation, which reduces water absorption and improves resistance to frost. Smaller vases intended for interior use are primarily designed for dry arrangements, with respect to the nature of the material and its inherent properties.
My work exists at the intersection of design, architecture, and fine art and is intended for spaces where emphasis is placed on mass, proportion, and the quiet presence of an object within its environment.
Collaboration
The work I create is intended for architectural, interior, and landscape contexts, where the object is not a decoration but a conscious component of the space. Concrete objects are developed with attention to scale, proportion, and their relationship to architecture, whether in interior, exterior, or gallery environments.
My practice naturally moves toward collaboration with architects, interior and landscape architects, designers, galleries, and collectors who seek an authorial element with material depth and long-term value. Each object is conceived as part of a whole, rather than as an isolated artifact.