charcoal on cardboard, 220 x 500 cm, 1990–92, It, charcoal on cardboard 220 x 480 cm, 1989–92). The time range of their creation bears witness to how technically demanding these drawings are. When interpreting the large-format drawing from the same period (From nowhere to nowhere – Forget everything/ You are what you cannot remember/, graphite, cardboard, 220 x 460 cm, 1990–97, GASK) it is necessary to also take into account the social atmosphere by the end of the 1980s and the seemingly hopeless situation of young artists, participants of the unofficial group Confrontations. According to the author, the drawing reflects feelings, in which the experience of a child is mixed with the empty spaces of an abandoned monastery and the situation of the confined space of a studio. Another variation on the same theme is a stark, almost technical drawing of a broken tube with a dark mouth (From nowhere to nowhere/silence, charcoal on cardboard, 220 x 480 cm, 1989). The series of meditation drawings (Meditation by drawing) derives from Meditation (1990, exhibited 2006, Museum Kampa), where the plastic object in the shape of a toroid encloses some abstract country inside. The surface of the rotational body is sometimes disrupted and expands into space (In space, 1992). The torus itself represents a perfect shape that has neither end, nor beginning and optically centralises attention to the middle, just like the electric toroid coil, which induces the magnetic field in its centre (Prayer, charcoal 275 x 705 cm, 2000-20003, Meditation in archetype, combined technique on canvas, 210 x 220 cm, 2006, Meditation by archetype, combined technique on canvas, 210 x 220 cm, 2000-2010). This shape also offers the possibility of mathematical transformation, during which the whole object can be turned inside out through eversion (like From nowhere to nowhere, 1990-7), to work in a 4D space and to decrease the central space through shortening of the axis, leading to final degeneration into a sphere. (It, charcoal on cardboard, 220 x 480 cm, 1989–92). The drawings, however, cannot be interpreted merely as a mathematical game. The author often creates them in a monastery cloister over the span of a few years and besides the artistic performance they are also a result of spiritual concentration connected with meditation. (To one point, charcoal on cardboard, 220 x 280 cm, 2000). Objects depicted are neither anchored in space, nor related to earth. A mild asymmetry