**Onomatopoeia**

**Installation view at Dojo, Nice**

2013, steel, 3x4x2m

Installation view at Karlin Studios, Prague

2011, steel, 6x5x4m

Installation view at École Nationale Supérieure des Beaux ars, Paris

2013, steel, 3x4x2m

Installation view at Karlin Studios, Prague

2011, steel, 6x5x4m

Installation view at École Nationale Supérieure des Beaux ars, Paris

**2011, steel, 6x5x4m**

Installation view at Galerie Klenova, Klatovy, Czech Republic

Installation view at Galerie Klenova, Klatovy, Czech Republic

**Installation view at French embassy, Prague**

**Installation view at Colloredo-Mansfeld Pallace, Prague City Gallery, Prague**

**Adam Vackar, in his critical take on the omnipresent materialistic approach, draws on Mandelbrot’s definition of the chaotic process. The sculpture made of raw metal tubes represents geometrical three-dimensional form of fractals. The term of fractals, mathematical phenomena discovered by French-American mathematician Benoit Mandelbrot is one of the classical chaos theories. It is commonly used in various forms for predicting the unpredictable future; the most outstanding example is the prediction of fluctuation of stock market. A fractal is defined as a rough or fragmented geometric shape that can be split into parts, each of which is a reduced-size copy of the whole, a property called self-similarity. Through the form of sculpture, Vackar imminently creates dynamic non-linear system; fractals and the process of subversive deconstruction of content. Geometric structures are a transition between order and chaos. In order to function, it follows a particular set of formulas. Mandelbrot’s equation is able to predict the unpredictable behaviour of systems, such as prices or weather fluctuation. Its universal notion of an invisible structure surrounding us is present here. The construction, which is made from “universal” metal pipes resembling the nature of the present condition, is rigid and expository. Fractal as a geometric model on many levels correlates with Egyptian thinking about sculpture, where in order to achieve the final form, the quadrate of stone becomes the mass from which pieces are cropped. On a geometrical level, the object can thus be considered as the initial form, extracted from the structure evolving into infinity.**