Time reflects itself in art with indifference. It slips through it like sand in an hourglass, leaving behind traces—more or less visible—that reveal the secret of its passage: relativity.
Water represents a different measure of time: tides and ebbs, monsoons and droughts. Ahistoricity and timelessness. Water is healing and release, and thus, in a certain sense, eternity. In a certain sense.

In the work of Šárka Koudelová, the relationship with flowing time gains extraordinary intensity—it thickens. Much like dreamcatchers, her paintings, sculptures, and objects act as filters that retain larger fragments of time within themselves. Carefully woven historical references that the artist evokes in her works form a network of meanings and citations. Flowing time settles upon them, evoking the familiar sensation of déjà vu, a kind of looping in which we realize how much what we call time depends on ourselves.

„Are we there yet?“ is a ubiquitous question asked by children, which does not necessarily require a precise answer, but rather reassurance that the journey has meaning and a destination. In parenting, this question returns constantly, even if it is no longer spoken aloud. It inquires about time, rather than space, and changes its addressee: will we get there as parents? Will we become calm, balanced, and „completed“ adults, as our parents once imagined? At the same time, this question shifts towards society—as a hope that the environment in which parenthood simply happens will also mature. That society will evolve enough to enable safe, dignified, and legally recognized parenting even outside the norm of the traditional nuclear family: adoptive and foster parents, queer couples, forms of shared and communal care. „There“ is not understood as a specific place or state, but as a horizon that is further with each step forward.