Mgr. Nicol Rubá Vošmíková Rubart - contemporary paintress

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Ostrava, - Ostrava (Okres Ostrava-Město, Moravskoslezský kraj) - Czech Republic
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Biography

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.

MGR. NICOL RUBÁ VOŠMÍKOVÁ RUBART

CONTEMPORARY SCULPTOR and INSTALLATION ARTIST

(recovery by Ministry of Culture Czechia, January 05/26)

[email protected]

ig: nicol.rubart

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PRACTICE

The practice of Mgr. Nicol Rubá Vošmíková RUBART is a coherent artistic-scientific-research syntax that ignores stable categories of sculpture, painting, and installation and defines its own gravitational field. Across scales, disciplines, and formats, it operates according to a shared principle: the work does not deliver one stable piece of information.

The pictorial plane collapses into space. Reliefs exceed their plane, frames cease to function as boundaries, and objects become matter. Structures emerge through controlled destruction and changes of state. Form does not arise as an illustration of a predetermined concept, but simultaneously with the disruption of structure. Each work is an autonomous anomaly.

The artwork is physically completed through its creation; its properties, however, are established in perception. It carries several mutually incompatible layers that exist simultaneously but cannot be read simultaneously. A change in angle, distance, and bodily position updates its perception. The work organizes the viewer’s body before the mind manages to name what it is looking at.

The practice phenomenologically examines the viewer’s pre-semantic perception and engagement. Recognition is disrupted, attention becomes concentrated, and the surrounding field of information recedes. Paradox, scale, proxemics, and time are not separate themes here, but parts of a single perceptual system.

Thermodynamic decay is not extinction, but a generative principle and the ontological foundation of the practice. Energy released through decay returns to the system and participates in the reorganization of matter and in increasing its degree of order. The result is a reduction of informational noise and a decrease in entropy: visual and mental silence that concentrates attention on the presence of the work.

The recognizable artistic signature is not limited to relief, degree of figuration, spatiality, color, or medium. It permeates the mode of thinking, the construction of individual works, and the coherent system of the entire practice. The intuitive process rests on thirteen years of development and recurring ritual foundations, from which the Polyadic N-ary / SD-2™ Proprietary Technology emerged.

Polyadic N-ary / SD-2™ Proprietary Technology emancipates the work from complex structural systems. Monumental objects are installed on a single nail, without intervention in the architecture and without complex handling. The work is not dependent on monumental space; it carries its own space with it and changes its scale from within.

Autarchy-specific.

The themes of individual works are governed by a coherent system in which the present is not separated from the past, but continues its physical and cultural transformation. The result is permanent structures of architectural scale that maintain an active continuity of time.

Matter here is not a vehicle for explanation. It is the argument itself.

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INSTITUTIAL EXPLOSION AND GLOBAL RELEVANCE

Unprecedented Growth: Within the first 8 months of her professional career, Mgr. Nicol Rubá Vošmíková RUBART’s work has been accepted into + 30 international exhibition,curatorial select physical permanent instalation

SELECTED INTERNATIONAL EXHIBITIONS, AWARDS AND JURY SELECTIONS

All exhibitions listed below are curated, jury-selected, or invitation-based presentations and represent a curated excerpt from a broader international exhibition history.

• 2026 MUST – MUSEO STORICO DELLA CITTÀ DI LECCE, ITALY. Official Selection for SENSES ART FAIR. Passed curatorial committee review for institutional validation.

• 2026 MAXXI – MUSEO NAZIONALE DELLE ARTI DEL XXI SECOLO, ROME, ITALY. Official Selection & Nomination for Progetto d’Autore 2026. Selected as one of „The New Faces of Contemporary Art“. Jury: Sandra Seradifalco, Irina Naumova.

• 2025 ATTESTATO DI MERITO, PREMIO ARTISTA D’EUROPA, VENICE, ITALY. Top 40 of 1,100+ applicants. Jury: Giada Eva Elisa Tardivo, Nino Argentati, Anna Soricaro.

• 2025 MOSTRA COLLETTIVA DI ARTE CONTEMPORANEA, GALLERIA ARTESPAZOATEMPO, VENICE, ITALY Video exhibition of admitted works within The Premio Artista d’Europa program. Jury: Nino Argentati.

• 2026 CURATONE.ART, BERLIN – TRIPLE FINALIST SELECTION. Projects: INNER LANDSCAPES work: A.NAHITA and LIGHT AND SHADOWS works: VEKTOR, MAGIA. Prohects: CONNECTION: VEKToR.AZRAEL. Repeated jury recognition by Quichao An, (Mosaz) Zijun Zhao (Juror for Biennale di Genova), and Olga Bondarenko (Red Dot Award)

• 2026 LONDON CONTEMPORARY ART FAIR, LONDON. Official Selection and Acceptance. Director Luca Curci.

• 2026 PREMIO BRERA ’26, MILAN. Official selection with personal critique by Roberto Litta (RAI / RaiNews24). Panel: Vittorio Schieroni, E. Amodeo, A. Amodeo.

2006 GALLERIUM CANADA - ROMANTICA. International Exhibition. Award of Excellence (3rd Place Overall Ranking).

• Selected Work: SERENITAS. Jury: Bahar Amiri, Ahmad Nadalian.

• 2025 EXHIBITION Physical ORIGINAL GALLERY PRAGUE, PALÁC ADRIA, PRAGUE. Works SERENITAS and MIRACULUM. Curator: Anzhelika Šitníková, Marcel Šitník.

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BIBLIOGRAPHY & ARCHIVAL VALIDATION

International evidence of works in periodical publications and catalogues.

SELECTED:

• ISSN 2563-7479 Inner and Landscape: International Art Publication

• ISSN 2561-6595 Art Anthology: Global Contemporary Artists

• ISSN 1927-6265 International Journal of Art and Art History

• ISSN 2371-2996 Observica Magazine (Special Artist Edition)

• ISSN 2816-7287 The Flux Review: Contemporary Art & Culture

• ISSN 2633-2310 Al-Tiba9 Contemporary Art Magazine

• ISSN 1025-210X World of Art Magazine (Archived Selections)

• ISSN 2470-3605 Art Reveal Magazine (Curatorial Choice)

• ISSN 2563-0423 Book of Art: International Contemporary Masters

• ISSN 2561-6609 Art Anthology: European Edition

• ISSN 2371-2988 Artistonish: Selection of Global Talents

PRESS AND PUBLIC MEDIA

• Moravskoslezský deník - Msy 2026 - Full page – technique, materials, professional trajectory

Frýdecko-Místecký deník - March 2026 - Full page – technique, international ambitions

• Astonish Contemporary Art Magazine - Issue No. 66 - January 2026 - Full-page international feature

• PitturiAmo Italia - ART Magazine - 2026 - International feature

• Curatone.Art Berlín - ART Magazine - 2026

• Wikipedia - Published under account ARTCzechReport - Submitted for editorial review

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ARTIST STATEMENT

My work began in the depths where others are afraid to look. From a locked room where I was missing the key, sleepless nights with scars on my body and soul, when my life was shaken to its foundations and I had to face situations that literally stripped me naked, I faced those darkest nights alone, because everyone I trusted had disappeared. I understood that the only thing I would never lose in life was myself and my obsession with perfection on canvas. I had known for a long time that classical painting was not enough for me. It was not my intention to be a famous artist or to buy a car, I create to survive. I transform every pain and every betrayal I face into brilliantly way to my Technology - Polyadic N-ary | DS-2™️

I don’t settle for 90% and I don’t take risks for 10. In art, as in my life, it’s all or nothing, because destroying others doesn’t matter.

“I AM THE FIRST IN THE NIGHT SKY AND THE LAST IN THE MORNING HEAVEN…SO WHOEVER COUNTS THE STARS ALL NIGHT WILL BE FIRST TO SEE THE LIGHT.”

28.5.2026 11.41

With great sadness, I had to say goodbye to my star and soulmate my ESA- MILLIE, someone by whose side my creation began. Someone who found me a brush at night so I could go to sleep and whose love touched me so deeply that I don't know how it is reflected in my creation, I don't know how to create without her. She couldn't stay, but she didn't want to leave. Millie, thank you so much for everything, for my life, for my work for absolutely love which you give me as anyone else. We didn't have much time,I stayed with you and looked on your eyes to your end, but in my heart and in my works you will forever be an inseparable part. I love you and always will be.