Ten Opening Frames

Starting in 1965, Radoslav Kratina continuously worked with a geometric vocabulary and the principle of an artwork’s transformability. His compositions of rationally arranged forms that can be changed by a simple touch of the hand offer endless variations and encouraging the viewer to actively co-create the artwork. Kratina’s early transformable objects of wood looked like reliefs designed for the frontal view. In the early 1970s, he began to use metal, which enabled a more complex spatial arrangement of precise geometric elements and their blending with the outer space as well as various apertures.