In her artistic practice, Sophie Dvořák explores a wide variety of mapping techniques, predominantly from the fields of cartography and astronomy, in all conceivable perspectives. In her works, she investigates real-world constellations that transfer complex projection methods into two-dimensional maps and three-dimensional globes and models. In doing so, she deconstructs and questions the ordering schemes, functionalities and hierarchies of these scientifically established models of representation. Reference points in this process serve a central role and are given new axes of reference.

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As part of the exhibition A Constellation of [un]known Reference Points, the artist Sophie Dvořák and the systems analyst and diagrammatics researcher Gerhard Dirmoser entered into a dialogue initiated by Kunstraum Memphis. In the resulting analysis Diagrammatische Überblicksstudie zum Werk von Sophie Dvořák, Dirmoser establishes "constellation" as a fundamental internal order in Dvořák's works and to describe the complex "togetherness" of the individual "reference points" in the exhibition. He approaches the term on the basis of the theses of a central writing by the German philosopher and media scientist Dieter Mersch entitled Epistemologien des Ästhetischen (2015) and comes to the conclusion "...that every consciously set "constellation" or one that arises in cultural practices, forms "meaning" by visual means - i.e. non-verbally. Seen in this light, every exhibition arrangement offers a "structure of meaning". "*.

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In recent works, which allow the most diverse materials to interact in a model-like manner, fluid masses permeate map fragments and lead to faults and material foldings. "Tectonic phenomena are studied and topographies unfold on a small scale, as if in a laboratory. Masses of white plaster perform quasi-geological transformations in accelerated form. Millions of years of tectonic forces are compressed into a few days of interacting "intra-action". With these works of self-acting materials, a new phase of visibility and visualisation begins. For these model worlds, all representational techniques remain relevant. All levels of relationality and thus all patterns of order (mediality, topology, projection, coding, scenography) remain valid, only the real-world reference points are lost. They are now to be rethought within the framework of a model theory "*.

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*Gerhard Dirmoser, Diagrammtische Überblicksstudie zum Werk von Sophie Dvořák, 2023‍

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Sophie Dvořák studied art history and graduated from the school for artistic photography in Friedl Kubelka's class. At the same time, she started her studies of fine arts at the Academy of Fine Arts Vienna and the Glasgow School of Arts, which she completed in 2008. She lives and works in Vienna and in the course of artist residencies often elsewhere. Her work has been exhibited internationally and has been awarded various prizes and grants. Most recently, she received the state scholarship for fine arts.

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Sophie Dvořák