Dana Sahánková expresses herself through the medium of drawing. She perceives it as a highly liberating tool for capturing themes that demand precise imagination and the fusion of expression with authentic experience. The fundamental characteristic of drawing - descriptiveness - is here put to the service of free association, for which shape, symbolic validity, narrative configuration, and pictorial constellation are sought. The tension between precise detail and the constantly transforming whole of the image (the process of re-composition) allows the artist to focus on situations and states, whose origins can be found in the realm of the reflected subconscious. The frequent lack of boundaries in her drawings seems to refer to observation or insight into a different dimension of time and consciousness. To a kind of hidden and somewhat thrilling voyeurism, whose curiosity encounters phenomenal incongruities concealing unexplained mysteries. Here, the status of the subconscious corresponds to the illogical mutability of a dream.

The images of Dana Sahánková function as allusions to objective materiality (and by extension, physicality), which is, however, poised for further changes and transformations. A vital motif in her drawings is the movement behind the constant rearrangement of compositions towards both construction and dismantling, condensation and disappearance; a disquieting, swirling motion that indirectly refers to the interpenetration of reason, memories, sensory experience, and involuntary memory on the level of human perception. And it is perception itself that connects the temporal layers of the distant past with the operative standpoint of the viewer who, like a dreamer, falls into the matter of an indistinguishable matrix. There, where the soothing phenomenal essence of superficial sensory experience fades and vanishes, and where, in Jungian depths, other kinds of partial phenomena grow like crystals or submarine organisms, phenomena whose unknown and fascinating structure speaks of human wandering and uncertainties on the far side of the known world.

Allegorical narratives and their black-and-white, venomously colorful, or chromatically ecstatic solutions support the vision of a shadow realm, a parallel world of phenomena - phenomena as filters, whose properties we retrospectively complete based on comparison with what we know and by subtracting what is alien and, in its own way, as warning and terrifying as it is alluring and exciting. The polarity of "inside" and "outside" is certainly a guiding principle for reading these works. The drawings can be perceived as windows into unknown but occasionally familiar events. Into the riverbeds of memories lost in the mind, into forgotten places that, nevertheless, seem to fully influence our present and future. The archaeology of uncovering them within the thicket of oblivion often carries a recurring echo of pain, remotely reminiscent of a surgical procedure. Memory here resembles a scar unfolded into a scarlet flower of toxic knowledge, from which there is no turning back.

The provocative title of the exhibition, The Entrails of Metamorphosis, precisely captures this contradictory, irritating, and, for the human imagination, difficult moment of raw association, which refuses to link spiritual transformation with the repulsive and overly grounding notion of physical anatomy. Metamorphosis, surely, cannot be associated with such a profane aura (!). But do the polar categories of the "sacred" and the "profane" even belong to the realm of human rational knowledge? Or are they rather categories of theology and ethics that transform based on knowledge to break the prejudices and conventions preventing true insight? The Entrails of Metamorphosis speaks, however, of something else as well. Of the paradox of the exact "verification" of spiritual transformation by dissecting all its probable or hypothetical premises.