David Strauzz

PROJECT SCHOOL ARt GALLERY Erasmus Plus project As the adrenaline of the project starts to subside, and my muscles recover from the physicality of creating a street art installation, i reflect on what we accomplished with a team of dedicated students, and feel emotions such as gratitude and pride.
Is the installation perfect? No. Are there mistakes? Yes. But the mistakes, bruises, imperfections are what made this collaboration perfect for me. The mistakes allow for learning, growth and wisdom and I hope that this talented group of students take what they learned here into the future.
An imagined student, suspended in transformation. Not yet what they will become, no longer what they were.
Like a butterfly in its subtle metamorphosis, the portrait shifts—caught in the invisible currents of change, bending with the winds that shape us all.
This work began as a dream.
And like most dreams, it arrived fragmented.
Over 600 pieces of discarded fabric—cut, marked, painted—each one a small gesture, a decision, a moment. Each one a step. Alone, they are incomplete. Together, they begin to find a purpose and learn to fly and hopefully to use the wind to their advantage.

This is how change happens.
Not all at once, but in fragments.
In risks taken.
In trust shared.
In the slow assembling of something larger than oneself.

The students who built this work now stand at the edge of their own transformations. Their paths will diverge—into art, into design, into the unknown. But within this composition, their gestures remain. A record of effort, of uncertainty, of becoming.
My role was not to give them answers, but to build a space where experience could take form—through material, through time, through responsibility, through each other. To leave them with something they could carry forward. Not just an image, but a way of moving into the future. Individually and as a group. The work will change. It will weather. It will shift. It might even disappear. As all things do. But for now, it holds a moment— of many hands, many fragments, becoming one.

After a recent trip to Portugal to visit and months of conceptual planning, our Czech contribution to the international program called , Erasmus plus has finally taken form. Here is a collection of in-progress photos from the past week in Helenín / , where, together with and a group of exceptionally dedicated student artists, we realized a large-scale outdoor . The work is composed of over 600 fragments of salvaged and recycled fabric—each piece cut, treated, and painted by the students. These fragments were developed into small-format works (25 × 25 cm), then collectively assembled into a kinetic, large-scale abstract portrait. Through this process, material once destined for disposal was recontextualized into a unified mosaic composition. The students were tasked with collecting and repurposing fabric discovered in the school’s storage—materials that would have otherwise been discarded. Through cutting, painting and marking, they produced a series of micro-compositions, later organized into a tonal spectrum of ten gradations from dark to light. With approximately 100–200 works within each tonal category. This project deliberately moves away from my usual reliance on spray paint, instead embracing a trial and error approach—one that originated from a dream I had following my visit to Covilhã, Portugal. It became both a conceptual and material experiment in sustainability, and perception entitled, "One person's junk is another person's treasure" and speaks about throw away culture, fast fashion, offshoring and labour arbitrage
Despite shifting conditions—sun, hail, rain, wind, and fluctuating temperatures—the students, faculty, and stakeholders remained fully committed throughout the process. Their resilience can be felt embedded within the work itself. In the next post, we will share the completed installation. For now, these are the fragments—the process, the labour, the cooperation and the blood sweat and tears! In a good way!

I am very grateful to everyone who supported me in my art practice in 2025. Two solo museum exhibitions, murals, new styles of paintings. An amazing artist residency in Canada, collectors who purchased artworks and commissioned pieces. I am so grateful! It was a productive year and 2026 looks like the furious pace will continue with big plans and projects. So
i wish you all a happy new year! All the best of luck, health and success in 2026! May you be conscious of the decisions you need to make, and find the strength and courage to make those decisions that will guide you into the future! May the results of your decisions be exactly as planned, and lead to growth. See you in the new year! /// Jsem velmi vděčná všem, kteří mě v roce 2025 podpořili v mé umělecké praxi. Dvě samostatné muzejní výstavy, nástěnné malby a nové styly malby. Úžasná umělecká rezidence v Kanadě, sběratelé, kteří zakoupili umělecká díla a díla na zakázku. Jsem za to nesmírně vděčná! Byl to produktivní rok a rok 2026 vypadá, že zběsilé tempo bude pokračovat s velkými plány a projekty. Takže vám všem přeji šťastný nový rok! Hodně štěstí, zdraví a úspěchů v roce 2026! Kéž si uvědomujete rozhodnutí, která musíte učinit, a najdete sílu a odvahu učinit ta rozhodnutí, která vás povedou do budoucnosti! Kéž výsledky vašich rozhodnutí budou přesně takové, jaké jste plánovali, a povedou k růstu. Na viděnou v novém roce! xoxo

I created this 3x4 painting in my studio during my artist residency in London. I have a specific grey scale that I enjoy using for my portrait paintings that shifts between cold and warm hues but I experimented a bit and added a touch of muted green which looks interesting. I will try it again in the new year on some new paintings. It's also a nice format 36x48" with lot's of texture. I painted someone specific who is still searching to find out who they are in this world. The installation suggests a puzzle yet to be completed.

🇨🇿 Instalace mé samostatné výstavy v je hotová a připravená na vernisáž. Je tu tolik neznámých… Kolik lidí přijde? Budou moje záměry pochopeny? Je prezentace plynulá? Proč jsem tak nervózní?

V určitém okamžiku se musím od toho všeho tlaku oprostit a prostě si užít proces. Muzeum mě v tom podporuje a místní jsou úžasní. Měl jsem skvělý rozhovor s panem starostou o mé kariéře a o tom, jak souvisí s proměnou Mostu. Tak proč ten vnitřní neklid?

Možná protože vystavováním svých děl se otevírám. Kritice, nejistotě, ale i růstu. Tím, že se snažím posouvat svůj styl a kariéru, vstupuji vědomě do neznáma. A to může být temné místo. Ale zároveň nabízí šanci se učit, růst a zůstat naživu – vědomě vnímat, že jsem někde mezi štěstím, tvrdou prací a příležitostí.

Vždycky jsem říkal: cítím se komfortně, když se necítím komfortně. Snadněji se to řekne, než udělá. Ale tady stojím. A děkuji, že to mohu sdílet právě tady, v Mostě.

🇬🇧 The installation of my next solo exhibition at is complete and ready for the vernissage. So many unknowns… How many people will come? Will the intention behind my work be clear? Does the show flow? Why am I so nervous?

At some point I have to let go of the pressure and simply enjoy the process. The museum has been incredibly supportive. The locals are amazing. I had a great talk with mayor about my career and the parallels with Most’s transformation. So why the nerves?

Maybe because by exhibiting, I open myself up—to criticism, uncertainty, and growth. By trying to evolve my style and career, I knowingly step into the unknown. It can be a dark place, but it’s also where learning and growth happen. That’s what keeps me alive and aware—that I’ve crossed paths with luck, hard work, and opportunity.

I always say: I feel comfortable being uncomfortable. Easier said than done. But here I am. And I’m grateful to share it here, in Most.