Mgr. Nicol Rubá Vošmíková, born on 10 March 1988 in Opava, graduated from the Pan-European University – Law, Slovak Republic, and Charles University – Law, Prague, Czech Republic. Mother of her daughter Valentina and Ziriel Dilbat ESA. University of Ostrava - Pedagogy, Ostrava, Czech Republic.

Comes from a family of architects: her great-grandfather was Ing. arch. Jan Rubý, and her grandmother was the painter Mgr. Dagmar Rubá. 

Professional artist, recognised by the Ministry of Culture of the Czech Republic on 6 January 202

I create to survive, I create to pass on. When other children at school drew their future on paper, I drew on the walls of my room, but my subconscious somatic direction was being built earlier than I was able to name it and remember it. My first sentence when I was one year old was not like the sentence of my daughter: “Where is the balloon?” but “Don’t touch that,” which I said to my grandfather when he touched the painting and wanted to take it off the wall in the direct view of my crib. 

That was the first time I shocked, disoriented, and engulfed my surroundings.

In the 7th grade of elementary school, I cut out dozens of butterflies from paper under the strict prohibition of not touching the walls with glue, tape, nails, and anything that leaves a colored trace, colored them in, and anchored them to the wall with chewing gum. When the windows were open, they moved in waves. (I had and still have a phobia of live butterflies)

When dad entered the room, his question was not “why,” but “how.” He came closer, crouched down, walked around them, before he even managed to get angry with me. I didn’t put them there with bad intention or defiance, I just had a nagging need to feel different in that space. I just had a need to actively participate in changing the energy in the room and it is fascinating to be there when someone enters. 

It is like a dialogue. I create, present, describe, but above all I sign in today’s time in the form of my works. It is my inner map, when I look at it work by work, I see not only a reflection in time, but also myself in reaction to the present time. My upbringing carries the order of architecture and my brain the discipline of law, but my hands speak a language that cannot be learned from books. I create at the point where logic ends and transformation begins. The BABYLON series was my purgatory. It is salt, dust, time, fire of earth and water, magic and Sumerian rituals. It is a testimony of the struggle for survival. The series METATRON ZOLDAMEDA is here. My eyes change color along with my works. I discover the boundaries of gravity as well as wonder, reflection on how engaged wiever will be? The threshold between the perceived and the recognized, and through Enochian and sacred geometry (Metatron) I pass through technologies, societal isolation, paradoxes, history, physics, psychology, time, life. What does the body know before the mind decides what it is actually looking at and How much changes when things are named?

In the spirit of my ESA Millie, who was an integral part of my development and left me suddenly and too soon, the Millie series will also be created. From excess materials that would otherwise be thrown away, I recycle them into small sculptures and try to give them a second life as well.

I do not intend to donate all proceeds to animals, but to owners of animals with congenital defects.

The teddy bear phenomenon began as a children’s toy, but it was never intended solely for children. For me, it holds deep significance, not just as a gift I receive instead of an ‘Insta-sexy’ bouquet of hundreds of roses, but as a symbol of friendship, love and memories; like a soldier, I too travel with it in times of solitude, and with each one I have a story and a bond that spans time.

In my series I’M O.K.,they are united not merely by destruction, but above all by an idea; their wounds are forged through goodness, human connection and emotion. They have suffered for their selfless hearts laid bare, yet they have remained true to themselves. They do not weep; they do not complain about how unfair fate is. They smile. And they declare to the world that they are O.K. 

My entire creative process is a reflection of my most polished mirror; that is why, even though I create monuments with the lightness of being—on a wall, on a nail—teddy bears that spoke the truth and were met with lies, or plaster sculptures with bittersweet expressions, my signature style and energy are ever-present.