Interview by Karolína Škodová

Adéla Janská is a Czech painter and one of the artists who emerged on the Czech art scene without having been trained in conventional art centres. Born in Olomouc, the artist studied in Slovakia (Bánská Bystrica) before returning back home to Olomouc. She graduated from the art college in 2009, but exhibited for the first time in 2013. She is currently leading young artists at Secondary School of Design and Fashion in Prostějov. A figurative painter with a sense of colour who manages to update the traditional format of the painting and infuse it with the atmosphere of the present, an ambivalent feeling. With her convincing works, Janská thus naturally fits into the contemporary tendencies of figurative painting and enriches its Central European reference register and expressive potential.

In the newest exposition “Play: please don´t touch” Adéla Janská designs an entire universe of femininity, sustained by strong painting skills and a unique interaction with the assumed souls of her characters. Every gaze, every detail evokes the delicacy of women, expressing strength and fragility juxtaposed and alternating in the infinity of the human journey through life.

You are invited to discover Adéla Janská’s works and world until April 30, 2022, at IOMO Gallery.


  • Why did you choose Bucharest for your new exhibition „Play: please don´t touch“? How do you feel about the city and have you ever been to Romania before?

 I didn’t choose Bucharest, the IOMO gallery approached me on its own. I agreed because the concept of the gallery, its space and location appealed to me. It’s an interesting, young and ambitious gallery and I’m a huge fan. Bucharest is a beautiful European city, it was my first visit to Romania and I believe it will not be my last.


  • Could you briefly reveal some details about this exhibiton? How much time did you spend on preparations into the works?

The exhibition was a continuation of my collaboration with the gallery at the end of last year, when I had the honour to participate in the Travel Guide group exhibition. As for the preparation for the solo show, it is actually constant. I don’t work in my studio according to a strict concept that is then finished with an exhibition, I don’t have a time frame. I work continuously and it’s always up to the curator to decide what kind of whole he or she will create from these paintings. I was very happy to work on this solo show with curator Maria Bilasevschi, who created a very good textual framework for the exhibition.


  • How do you want to exhibition be perceived by those who will see it? What is the story behind?

 I don’t think about how the exhibition should be perceived. I don’t think it’s a question that concerns me. Of course, everyone who goes to the market with skin in the game wants it to be well received. The dialogue that opens up to the person standing in front of the art is, in my opinion, personal and depends on the perceiver. There are countless levels on which this can take place, I find it miraculous if my works are able to offer this dialogue. That’s a miracle for me.

  • Where do you get your inspiration from?

 From my experience, my life and my perception of the world. It’s quite simple. The older I get, the purer it is for me.


  • Have you ever struggled with creative crissis? And if so, how do you deal with it? / Have you been somehow influenced by Covid-19 pandemic crisis?

 I think a crisis is simply a crisis and it doesn’t matter if it’s a creative crisis or a life crisis. For me, they’re connected vessels. You still need to make an effort and move forward so that you experience moments of certainty and joy. You can’t avoid setbacks or doubts on any such journey. I think that’s perfectly fine.

As for the Covid pandemic, I experienced it like most people do in their personal lives, but as for the studio work, on the other hand, there was much more room to work.