The current themes of Patrik Adamec's sculptural work (*1994) are the figure and its physicality in the captivity of its work and the contrast of lability and stability. Recently, he has chosen two interesting and completely different materials for the presentation of his feelings - cast iron and silicone. A cast iron torso lying in the middle of a foam mattress on a metal bed definitely does not evoke a feeling of peaceful sleep and rest. The weight of the cast iron causes the torso to sink more and more into the soft mud as if into some land that is about to swallow it and from which it can no longer escape due to its own weight. It is the imprint, the trace that the torso leaves in the mud, that is an important part of the author's concept. Cast iron is a supreme, compact material, it looks secure, but the somewhat deformed face of the torso suggests that something else is going on behind that self-confident shell. Adamec sees cast iron as a beautiful, elegant, but at the same time cold material, which precisely thanks to this property contributes to faithfully capturing the psychological states of a person. Also silicone can often act as a solid box, but it has strong deformation properties and certain lability. Even if the silicone torso will be firmly anchored in the artist's work boots, it will begin to bend, bend, struggle with its current position. His mental stability is disturbed, this crippled cripple cannot escape his prison in the form of work boots. With its wooden legs, it also refers to the work table, a very intimate space for the artist, which has a great power to reveal the surroundings, what is happening in the given person. Patrik Adamec's work is intentionally full of contradictions and contrasts. Where we would expect lightness, weight comes, against the expected subtlety of oversizing the material structure. In the constant transformation of his own identity, the artist seeks freedom and identification.