Tereza Zichová’s four large-dimensional paintings present figural scenes from interiors whose common denominator is identical, almost psychedelic tiles on the floors and wallpapers with the bizarre décor of dinosaurs and mermaids. The plots occurring in these spaces are similarly odd, for the montages of mismatching motifs follow the “dream logic” and depart from in-depth research of the artist’s subconscious mind. It is portraits of real people and animals close to her, things and situations remembered from her childhood, references to pop-culture that influenced her at an early age, and creatures from her dreams. The Tonar Family canvas sums up the stimuli which Zichová had traced during her research as determining her way to her profession. Such as the painting of great-grandfather’s brother, which once decorated her home (his surname served as the title of the presented work), and a canvas leaning against the wall and featuring a giant mountain with eyes, which she had a long time ago painted after her dream. And all this goes hand in hand with the famed Titanic scene in the background when Zichová convinced her mother to pose for it.