When Rilke finally completed his “Duino Elegies”, he had to step back and re-read them, trying to understand what had come. It was a case of cause and effect in reversal, a mirror image. As Katia progresses through a painting, she meditates for hours on the secret that’s trying to reveal itself through the subtle channels of the subconscious, abandoning herself alternately to what may appear at times the sincere trust of the child or the wisdom of the sage.
When you stand for long enough amongst Katia’s works, you’ll start to feel like you’re leaving the real world behind, when in fact you’re entering more deeply into it.
The meditative, trance-like state from which her work comes is the birth ground of epiphany itself and Katia brings forth her visions of a world even more secretive and unknown than those magical streets of her Prague childhood.
“I arrived at the name “Subconsciounalism” to describe my work after studying deeply in the philosophies and writings of a few men whose understanding of the universe and mankind - though originating from different ends of the scientific and philosophical world - seemed to meet me at the apex of the symbolic pyramid. As one of them said, the four walls could be seen as the four great world religions, all arriving from opposite directions at the common point: where “The eye of God opens”.”
For Katia, these four sides could depict quantum physics, psychology, mythology, and art; her corresponding influences being Greg Braden, Carl Jung, Joseph Campbell, and those artists like herself who are working from a place of vital co~creation, a meditative place within which time and space, the archetypes, and the journey of the human soul all relate cohesively to one another and speak with a pristine clarity, freed from the heap of human prejudice and misunderstanding which categorizes the world in terms of its apparent opposites. This intuitive approach to painting brings her through spiritual trips on the level of a deep historical consciousness of humankind from which she is emerging like a bridge from this universal memory. From her paintings you can feel she is levitating between the archetypes of primordial history and quantum touches through time.
Katia Jirankova Levanti
University of Philosophy FFUK, Prague
Conservatory of Movement Theatre, Prague
Universitá per stranieri Perugia,Italy
1995-2001 figural drawing on UMPRUM, prof. Boris Jirků