giant cardboard that gained him respect and recognition. These drawings stand outside the Czech artistic tradition due to their artistic rendition, and when they first appeared on the art scene in the middle of the 1980s, they seemed to be an apparition. In his approach, the drawing is mostly a record of its own creation, not a composition of form with arbitrary influence. Up to a certain point, it is a documentation of action. This action is of a psychological and physical character and is designed for private space and not for the public. The author is not primarily concerned with representation. His work is not about diversity of images and their individual messages. Kornatovský focuses on continuity, the repetition of actions of a ritual character. The subject is, therefore, rather a certain maintenance of the order of events in the rhythm of cyclical (archetypal) time. Kornatovský’s "discovery" of the abstract object that is the carrier of the subjective experience and personal transformation is, by its own simplicity and the number of universal archetypal meanings, unique and independent. When considered in the history of art, it may be compared, for example, to the Black Suprematic square of Kazimir Malevich, White Paintings of Robert Rauschenberg, Morgenstern’s Fish’s Night Song or John Cage’s "4´33´´". At the very beginning there were drawings and large graphic sheets depicting relationships (Two – Free variation on an hour of the lovers, 1988, etching, All at once, 1989, etching, GASK, And tickle, charcoal on paper, 200 x 380 cm, 1988), sometimes with a hidden erotic subtext (Shape of adventure, 1987). They are characterised by accurate execution and the use of abstract symbols derived from natural shapes. The composition of the event contains a secret. Space is not defined, the story pours over the horizon where we cannot see (Is anybody else coming? (Countryside), etching with aquatint, 1988, GASK), the outlined opening into the interior of the object offers only darkness but there is light coming out of the crack on the other side (One, 1988). At the end of the 1980s Kornatovský drew abstract playful images dedicated to his family (… oh you people, 1989) and celebrating the joy of a newborn child (That and that and that-a-thing, 1988, charcoal on paper, 150 x 360 cm). Giant objects from the beginning of the 1990s offer perfect spatial illusion of voluminous figures of organic shape (And out/aerial meditation,