Barbora Kolibíková’s Onesies is inspired by the Dada artist John Heartfield, who in the 1930’s risked his life to use art as a weapon against Hitler and the rise of Fascism in Germany.
In Onesies Kolibíková, makes her own statement against the ideology of Hitler, fascism and intolerance. It is intended to humiliate Hitler (and his ideas) as much as possible: what could be worse for the leader of the Third Reich to be caught wearing a Unicorn sleep suit surrounded by a group of everyone he hates? People connected by one thing, Hitler and his hate. All of these people together destroying tyranny with one act. The subtle use of flowers instead of guns suggests that tenderness may overcome intolerance. The yellow flowers resonating with the Jewish stars sewn on the pyjamas of the condemned.
This use of parody to question and undermine is present in other works by Kolibíková. In her translation Van Gogh’s Self Portrait (1887) the artist focuses on the material qualities of the painting: The single strokes of brushes, the vibrant (almost Day-Glo) colours and expressive physical gesture of application that evoke 3 dimensionality. Kolibíková parody of these qualities uses ‘papery’ brushes and a stationary colour pallet, sticking post-it bookmarks (temporarily) to the face, following the same direction as the brush strokes that once moved across the face of Van Gogh.