Peter Niznansky (born in 1956) is a celebrated sculptor whose education took place at the Technical College for Creative Trade in Bratislava from 1971 to 1975, and later at the Academy of Fine Arts AVU in Prague under Professor Jiri Bradacek from 1978 to 1984.
After graduating, Niznansky settled in Prague, where he developed a distinctive style characterized by both monumental and intimate sculptures, reliefs, and medals. Initially working with wood, stone, and cement, he later mastered the creation of sculptures in bronze and tin.
Niznansky’s work is deeply rooted in the theme of human existence. His sculptures often feature sitting and standing female nudes, such as “Baletka” (The Ballet Dancer) and “Etiópska matka” (The Ethiopian Mother), as well as symbolic pieces like “Harlekýn a Kolombína” (Harlequin and Columbine) and “Faust a Margaréta” (Faust and Margret). His creations also explore humanist and philosophical themes, with works like “Pomoc priatelovi” (Helping a Friend) and “Kam krácam” (Where am I Going).
Throughout his career, Niznansky has exhibited extensively, with solo and group shows in Prague, the Czech Republic, Slovakia, and internationally in cities such as Paris, Dijon, and Toulouse. In 2014, he presented his works in Bratislava alongside the unique Czech graphic artist Oldrich Kulhánek.
Stylistically, Niznansky’s sculptures are influenced by his professor Jiri Bradacek and the heritage of Auguste Rodin. His works exhibit a sensitivity to sculptural shape and size, as well as expressive surface modeling. Notable pieces include “Radost” (Joy), “Tonda,” and athletic motifs like “Golfistka” (Female Golf Player) and “Lyziar” (Skier).
Niznansky’s recent sculptures, such as “Vesmír I.” (Outer Space I) and “Vesmír II.” (Outer Space II), explore themes of infinity and the cosmos, while “Fénix” (Phoenix) suggests surreal resurrection and flight. His work continues to captivate audiences with its exploration of human beauty, existence, and the interaction of mass within space and time.
Peter Niznansky’s sculptures are not just visually arresting; they evoke a deep emotional response, making them a significant contribution to contemporary art.
