What is fascinating about Eliška Konečná’s work is that it detaches itself from any chronological linearity to gradually approach a certain timelessness, a form of universalism mirroring the history of art. This interpretation finds its roots in Eliška Konečná’s relation to symbolism and the almost classical construction of her narration around allegorical figures. The artist seems to slowly develop her personal mythology filled with characters depicted for their individual qualities, struggling with morality issues, while she uses a very intuitive language, leaving a great place for pure aesthetic considerations. In this sense Eliška Konečná’s practice definitely illustrates a certain return to sensuality.

In Eliška Konečná’s artworks, emotion is treated as a background of sensuality, or as its direct consequence. If her subjects often illustrate a notion of impossibility, their pain and guilt is opposed with resignation and acceptance, as eventually the bodies, limited by their own humanity, are transcended by their ability of neutrality. Life and death here are described contextually, in situations where water flows, or where it is missing.