Electric Flowers and Cosmic Motherhood

Is Anna Zemánková (1908–1986) an artist ‘brut’, belonging to a loose field also called ‘outsider art’? I don’t think so. I could actually finish this argument right here, adding perhaps that the very question sounds obsolete today and that it also demonstrates my non-objectivity. The moment I set eyes on Zemánková’s work¹, I realised that I was looking at powerful and eccentric organic abstraction. Leaving all categories aside, I am routinely mesmerised, personall (…)