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Jan Kalab, Center of Rear Vision, 120 x 110 x 7 cm, 2021
Jan Kalab, Center of Rear Vision, 120 x 110 x 7 cm, 2021
Open a larger version of the following image in a popup:
Jan Kalab, Center of Rear Vision, 120 x 110 x 7 cm, 2021
Jan Kalab, Center of Rear Vision, 120 x 110 x 7 cm, 2021
Open a larger version of the following image in a popup:
Jan Kalab, Center of Rear Vison, 2021, installation view
Jan Kalab, Center of Rear Vison, 2021, installation view
Jan Kalab Czech, b. 1978
Center of Rear Vision, 2021
Acrylic on canvas streched on hand made wooden frame
120 x 110 x 7 cm
47 1/4 x 43 1/4 x 2 3/4 in
47 1/4 x 43 1/4 x 2 3/4 in
18896
Copyright The Artist
Further images
Jan Kaláb (born in Prague, in 1978) is a Czech visual artist, whose art features vibrantly colored, abstract designs of organic shapes in various formats, including paintings, sculptures, installations, and...
Jan
Kaláb (born in Prague, in 1978) is a Czech visual artist, whose art features
vibrantly colored, abstract designs of organic shapes in various formats,
including paintings, sculptures, installations, and street murals. Having
started as a graffiti artist, Kaláb's artwork has appeared in Albin Polasek
Museum, the National Czech & Slovak Museum, the MAXXI National Museum of
21st-Century Arts (Rome), etc.
In this particular series he is experimenting the exact opposite of what he is
used to. As if this series was the negative of what he was made famous for. This
is all about the raw truth of things. The opposition between the fabric and the
colorful stretcher is unusual and yet remains very appealing, as if the viewer
had been invited to peak through a special lense at a new form of reality.
Kaláb (born in Prague, in 1978) is a Czech visual artist, whose art features
vibrantly colored, abstract designs of organic shapes in various formats,
including paintings, sculptures, installations, and street murals. Having
started as a graffiti artist, Kaláb's artwork has appeared in Albin Polasek
Museum, the National Czech & Slovak Museum, the MAXXI National Museum of
21st-Century Arts (Rome), etc.
In this particular series he is experimenting the exact opposite of what he is
used to. As if this series was the negative of what he was made famous for. This
is all about the raw truth of things. The opposition between the fabric and the
colorful stretcher is unusual and yet remains very appealing, as if the viewer
had been invited to peak through a special lense at a new form of reality.
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