Intruder (p. 58-59), AVU, Praha, 2012, ISBN 978-80-87108-34-5
Rudolf intended to make “a sculpture which would fill and represent a certain place.” To reflect on the specific ambiance of the Ticket Hall, he used the simplest of materials (and a very non-sculptural one): water. Rudolf strived to use this material as if it were a sculptural one: its placement in the space, its size, and to some extent its shape weren’t accidental. The artist spilled half a litre of water on the floor, whose tiny, rectangular tiles create a unique pattern reminiscent of neoplasticist compositions. Water flowed into the tile interstices, making them more noticeable and the water surface served as a mirror for the surrounding space: ceiling lighting made of square glass blocks was reflecting in it. Two geometric patterns met in the puddle, creating a contrast with the irregularity of the puddle’s shape. Architectural precision was swallowed up by an unstable shape which would change in time as water was drying up, starting from the puddle’s edges. The remnant of this ephemeral sculpture is a photograph: it fixated the situation in time, while it also chose one point of view, one moment. To preserve a memory in a photography can only be done at the cost of selection.