Marlena Kudlicka’s practice centers on sculpture and art in public space. Through her work, she translates the history of art and its frameworks—particularly the legacies of Constructivism, Conceptualism, and Minimalism—into a contemporary unique spatial language.

Working across indoor and outdoor contexts, Kudlicka collaborates closely with architects, engineers, constructors, and specialized craftsmen in metal and glass. Her hybrid approach engages with art history, site-specific context, and philosophy, while addressing themes such as error, communication systems, protocols, strategy, productivity, and efficiency.

Kudlicka often bridges the precision of industrial materials with poetic sensibility. Her sculptural compositions transform the rigor of engineering into what she calls spatial poetry—where light and shadow animate forms like phantom equations, shimmering with beautiful imperfections. Although her declared subjects are “work productivity” and “efficiency,” her art reads as a meditation on the space between perfection and its necessary deviation.

Investigating linguistic and structural systems, Kudlicka explores the mechanics of spatial and semantic relations—how thought becomes form, and how communication operates within physical and conceptual boundaries. Her meticulously constructed sculptures and reliefs, often made of steel, glass, and powder coating, reflect a process-oriented inquiry into patterns, equations, and systems of order.

“I am interested in the question: what tolerance of precision is allowed to transform thought into a physical shape?” she notes. Her process involves mapping the relationship between error and its derivatives—uncertainty, doubt, hesitation—creating what she refers to as recipes. These “recipes” serve as indices of the sculpture’s genesis: not merely its physical structure, but the accumulation of knowledge, calculation, risk, and fallibility that shape its final form.

At the core of Kudlicka’s practice lies an inquiry into the (im)possibility of translating experience through language—how we grant others access to what we see through what we say. Seeking to reconcile natural language with the visual language of art, her work extends a century-long dialogue between form, meaning, and interpretation, navigating the fragile terrain where thought becomes visible.

By merging linguistic systems with spatial composition, Kudlicka’s sculptures reveal the tension between structure and its necessary imperfection. They invite viewers into a space where calculation meets intuition, and where the abstract languages of art, architecture, and philosophy converge in quiet, exacting harmony.