Adam Hejduk (b. 1992, Opava) is an artist and researcher focusing on the material of glass. He is currently based in Brno, where he is completing his doctoral studies at the Faculty of Fine Arts, Brno University of Technology (FaVU) under the supervision of Pavel Korbička. As part of his PhD, he is also engaged in teaching activities at FaVU, particularly in the Studio of Spatial Creation, led by Jiří Příhoda and Pavel Korbička.

He completed his master’s and bachelor’s studies at FaVU VUT in Brno (Studio of Sculpture II, Prof. Jan Ambrůz) and undertook study stays in the Glass Studio of Prof. Rony Plesl and the New Media Studio I of Tomáš Svoboda at the Academy of Fine Arts in Prague.

Hejduk received an Honourable Mention at the StartPoint Prize (2021), a scholarship at Pilchuck Glass School (USA, 2022), and became a laureate of the Stanislav Libenský Award (2019). He has also taken part in residency programmes including the Artist Exchange Program (Budapest Gallery, 2020) and StartPoint Prize Residency (2023).

Hejduk’s artistic research focuses on glass as an actor within the interaction of physical, environmental, and media networks. He explores its resonance, structural and socio-cultural agency, within an experimental sculptural and audiovisual practice.

Artist's statement

My main interest lies in artistic research on glass, combining experimental techniques with art-historical and historical contexts. The subject of my research is glass as a material phenomenon connecting physical, geological, social, and cultural agency. Through this conceptualization, glass can be situated interdisciplinarily and perceived as a co-creator of history — a network of multiple agencies.

One aspect of my practice explores the physical and acoustic properties of glass – its resonance, strength, and elasticity. The Fragile series moves between sculpture and musical instrument. Tempered glass functions as a resonator, while strings connect its structural parts. These tense constructions evoke uncertainty and mirror the fragility of the material. Glass becomes a vibrating body – an active agent responding to touch and sound.

Another layer of my work examines the socio-cultural and environmental context of glass as an actor in history. The project Waiting for Godot reflects on the energetic and economic demands of glass production and its environmental impact. Objects made from shattered glass, reinterpreted into real forms, become metaphors for memory and consumer cycles. The material oscillates between destruction and reconstruction, both physical and symbolic.

The third line of my work engages with fictional and mediated realities. Videos based on real sound recordings are manipulated through editing and music, forming fragmentary narratives between horror and social drama. They examine media manipulation, sonic intimacy, and the construction of reality.