{"id":18306,"date":"2026-09-13T11:40:45","date_gmt":"2026-09-13T09:40:45","guid":{"rendered":"https:\/\/www.bratislavadesignweek.sk\/?p=18306"},"modified":"2026-09-13T11:40:46","modified_gmt":"2026-09-13T09:40:46","slug":"univerzalny-substrat_-vystava-silvia-sukopova-ht-series","status":"publish","type":"post","link":"https:\/\/www.bratislavadesignweek.sk\/en\/univerzalny-substrat_-vystava-silvia-sukopova-ht-series\/","title":{"rendered":"UNIVERZ\u00c1LNY SUBSTR\u00c1T_ V\u00ddSTAVA Silvia Sukopov\u00e1: HT Series\u00a0"},"content":{"rendered":"

HT Series nadv\u00e4zuje na m\u00f4j dlhodob\u00fd v\u00fdskum FDM 3D tla\u010de ako m\u00e9dia umeleck\u00e9ho vyjadrenia. Namiesto toho, aby som k digit\u00e1lnej fabrik\u00e1cii pristupoval\/a ako k procesu exaktnej reprodukcie, moja pr\u00e1ca sk\u00fama moment, kedy sa po\u010d\u00edta\u010dov\u00fd dizajn stret\u00e1va s fyzick\u00fdm svetom. Pr\u00e1ve v tomto strete nach\u00e1dzam autenticitu \u2013 nie v samotnom digit\u00e1lnom modeli, ani v manu\u00e1lnom z\u00e1sahu, ale v dial\u00f3gu medzi nimi.<\/p>\n\n\n\n

S\u00e9ria je zalo\u017een\u00e1 na jednoduchom pozorovan\u00ed materi\u00e1lu. PLA, jeden z najbe\u017enej\u0161\u00edch materi\u00e1lov pou\u017e\u00edvan\u00fdch pri stolovej 3D tla\u010di, b\u00fdva \u010dasto zatracovan\u00fd pre svoju citlivos\u0165 na teplo. Namiesto kompenzovania tejto vlastnosti ju prij\u00edmam ako z\u00e1kladn\u00fd dizajn\u00e9rsky princ\u00edp. Teplo nie je n\u00e1metom diela, ale m\u00e9diom, prostredn\u00edctvom ktor\u00e9ho digit\u00e1lny objekt vstupuje do fyzickej reality \u2013 do priestoru, kde geometria za\u010d\u00edna vyjedn\u00e1va\u0165 s gravit\u00e1ciou, nap\u00e4t\u00edm, elasticitou a samotn\u00fdm spr\u00e1van\u00edm materi\u00e1lu.<\/p>\n\n\n\n

Ka\u017ed\u00fd objekt je koncipovan\u00fd ako komplexn\u00fd dizajn, ktor\u00e9ho logika presahuje samotn\u00fd akt tla\u010de. Vytla\u010den\u00e1 geometria je z\u00e1merne navrhnut\u00e1 pre druh\u00fa f\u00e1zu formovania, v ktorej term\u00e1lna manipul\u00e1cia aktivuje mo\u017enosti u\u017e predt\u00fdm zak\u00f3dovan\u00e9 v jej \u0161trukt\u00fare. Ka\u017ed\u00e1 transform\u00e1cia je dizajnom predv\u00eddan\u00e1, no nikdy nie \u00faplne determinovan\u00e1. Fyzik\u00e1lne z\u00e1kony sa tak st\u00e1vaj\u00fa spolutvorcami fin\u00e1lneho objektu.<\/p>\n\n\n\n

Tento pr\u00edstup z\u00e1rove\u0148 umo\u017e\u0148uje dielu prekro\u010di\u0165 zdanliv\u00e9 obmedzenia hobby FDM tla\u010diarn\u00ed, teda technol\u00f3gie, ktor\u00e1 zost\u00e1va \u00fastredn\u00fdm prvkom mojej praxe. Objekty s\u00fa tla\u010den\u00e9 v komprimovan\u00fdch konfigur\u00e1ci\u00e1ch a nesk\u00f4r expandovan\u00e9, rozbalen\u00e9, natiahnut\u00e9 \u010di tvarovan\u00e9 do pod\u00f4b, ktor\u00e9 v\u00fdrazne presahuj\u00fa rozmery samotnej tla\u010diarne. Napr\u00edklad osemdesiatcentimetrov\u00fd r\u00e1m zrkadla vznik\u00e1 na tla\u010dovej ploche s rozmermi iba 35 \u00d7 35 centimetrov. Na in\u00fdch miestach sa presn\u00e9 vytla\u010den\u00e9 geometrie zjem\u0148uj\u00fa do fluidn\u00fdch povrchov, zatia\u013e \u010do viacfarebn\u00e9 filamenty sa transformuj\u00fa do \u0161trukt\u00far pripom\u00ednaj\u00facich tkan\u00e9 text\u00edlie alebo visiace drap\u00e9rie, \u010d\u00edm stieraj\u00fa vizu\u00e1lnu hranicu medzi priemyselnou v\u00fdrobou a remeslom.<\/p>\n\n\n\n

V celej s\u00e9rii nestoj\u00ed digit\u00e1lna presnos\u0165 v opoz\u00edcii vo\u010di materi\u00e1lnej nepredv\u00eddate\u013enosti. Naopak, obe existuj\u00fa ako komplement\u00e1rne podmienky toho ist\u00e9ho procesu. Po\u010d\u00edta\u010dov\u00fd model stanovuje pole mo\u017enost\u00ed, zatia\u013e \u010do fyzick\u00e1 realita ho dotv\u00e1ra prostredn\u00edctvom s\u00edl, ktor\u00e9 nemo\u017eno plne simulova\u0165 ani kontrolova\u0165. Objekt nevznik\u00e1 tejto neg\u00e1ci\u00ed navzdory, ale pr\u00e1ve v\u010faka nej.<\/p>\n\n\n\n

HT Series reflektuje moju \u0161ir\u0161iu umeleck\u00fa prax, ktor\u00e1 konzistentne h\u013ead\u00e1 body prieniku medzi digit\u00e1lnymi syst\u00e9mami a materi\u00e1lnym svetom. Ukazuje, \u017ee technol\u00f3gia by sa nemala sna\u017ei\u0165 nahradi\u0165 fyzick\u00fa realitu \u010doraz v\u00e4\u010d\u0161ou presnos\u0165ou, ale mala by s ou vst\u00fapi\u0165 do \u017eiv\u00e9ho vz\u0165ahu. Moja pr\u00e1ca nazna\u010duje, \u017ee autenticita vznik\u00e1 presne tam, kde sa logika algoritmu stret\u00e1va s neredukovate\u013enou komplexnos\u0165ou hmoty \u2013 kde digit\u00e1lne a fyzick\u00e9 prest\u00e1vaj\u00fa fungova\u0165 ako protiklady a st\u00e1vaj\u00fa sa neoddelite\u013en\u00fdmi s\u00fa\u010das\u0165ami jedn\u00e9ho tvoriv\u00e9ho procesu.<\/p>\n\n\n\n

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HT Series<\/strong><\/p>\n\n\n\n

HT Series<\/em> continues my long-term investigation of FDM 3D printing as a medium of artistic expression. Rather than treating digital fabrication as a process of exact reproduction, my work explores the moment when computational design encounters the physical world. It is within this encounter that I locate authenticity\u2014not in the digital model alone, nor in manual intervention, but in the dialogue between both.<\/p>\n\n\n\n

The series is grounded in a simple material observation. PLA, one of the most common materials used in desktop 3D printing, is often dismissed for its sensitivity to heat. Instead of compensating for this property, I adopt it as a design principle. Heat is not the subject of the work but the medium through which the digital object enters physical reality, where geometry begins to negotiate with gravity, tension, elasticity, and the behaviour of the material itself.<\/p>\n\n\n\n

Each object is conceived as a complete design whose logic extends beyond the act of printing. The printed geometry is deliberately engineered for a second phase of formation, in which thermal manipulation activates possibilities already embedded within its structure. Every transformation is anticipated by the design, yet never entirely determined by it. Physical laws become collaborators in the making of the final object.<\/p>\n\n\n\n

This approach also allows the work to exceed the apparent limitations of hobby-grade FDM printers, a technology that has remained central to my practice. Objects are printed in compressed configurations and later expanded, unfolded, stretched, or reshaped into forms that greatly surpass the dimensions of the printer itself. An eighty-centimetre mirror frame, for instance, originates from a build volume of only 35 \u00d7 35 centimetres. Elsewhere, precise printed geometries soften into fluid surfaces, while multicolour filaments transform into structures that evoke woven textiles or suspended drapery, dissolving the visual boundary between industrial production and craft.<\/p>\n\n\n\n

Throughout the series, digital precision is never opposed to material unpredictability. Instead, the two exist as complementary conditions of the same process. The computational model establishes a field of possibilities, while physical reality completes it through forces that cannot be fully simulated or controlled. The object emerges not despite this negotiation, but because of it.<\/p>\n\n\n\n

HT Series<\/em> reflects my broader artistic practice, which consistently seeks points of convergence between digital systems and the material world. It proposes that technology should not aspire to replace physical reality through ever greater precision, but to engage with it. The work suggests that authenticity arises precisely where the logic of computation meets the irreducible complexity of matter\u2014where the digital and the physical cease to function as opposites and instead become inseparable parts of a single creative process.<\/p>","protected":false},"excerpt":{"rendered":"

HT Series nadv\u00e4zuje na m\u00f4j dlhodob\u00fd v\u00fdskum FDM 3D tla\u010de ako m\u00e9dia umeleck\u00e9ho vyjadrenia. Namiesto toho, aby som k digit\u00e1lnej fabrik\u00e1cii pristupoval\/a ako k procesu exaktnej reprodukcie, moja pr\u00e1ca sk\u00fama moment, kedy sa po\u010d\u00edta\u010dov\u00fd dizajn stret\u00e1va s fyzick\u00fdm svetom. Pr\u00e1ve v tomto strete nach\u00e1dzam autenticitu \u2013 nie v samotnom digit\u00e1lnom modeli, ani v manu\u00e1lnom z\u00e1sahu, […]<\/p>\n","protected":false},"author":2,"featured_media":18313,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[846,900],"tags":[],"class_list":["post-18306","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news-news","category-news-2024"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.bratislavadesignweek.sk\/en\/wp-json\/wp\/v2\/posts\/18306","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.bratislavadesignweek.sk\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.bratislavadesignweek.sk\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.bratislavadesignweek.sk\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.bratislavadesignweek.sk\/en\/wp-json\/wp\/v2\/comments?post=18306"}],"version-history":[{"count":1,"href":"https:\/\/www.bratislavadesignweek.sk\/en\/wp-json\/wp\/v2\/posts\/18306\/revisions"}],"predecessor-version":[{"id":18317,"href":"https:\/\/www.bratislavadesignweek.sk\/en\/wp-json\/wp\/v2\/posts\/18306\/revisions\/18317"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.bratislavadesignweek.sk\/en\/wp-json\/wp\/v2\/media\/18313"}],"wp:attachment":[{"href":"https:\/\/www.bratislavadesignweek.sk\/en\/wp-json\/wp\/v2\/media?parent=18306"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.bratislavadesignweek.sk\/en\/wp-json\/wp\/v2\/categories?post=18306"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.bratislavadesignweek.sk\/en\/wp-json\/wp\/v2\/tags?post=18306"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}