FRIDRIKS X KALÁB

Katrin Fridriks, an abstract artist, delves deep into the interplay between speed, gravity, and humanity's relationship with natural forces. Her artistry is a profound investigation into natural occurrences and the boundaries of human finesse. By experimenting with varied techniques and harnessing the power and agility of her physique, Fridriks consistently expands the horizons of painterly representation. Through her explorations, she has innovated multiple techniques, amalgamating them to produce singularly distinctive artworks.While Fridriks is predominantly recognized for her paintings and painterly installations, notably one showcased at the Olympic stadium in Nîmes, land art remains a significant facet of her oeuvre. Her creations frequently manifest as site-specific installations, challenging conventional definitions of painting. Rooted in the scrutiny of elemental experiences, Fridriks' works possess an immediate allure. With multi-layered complexities that reveal themselves gradually, each subsequent viewing unveils fresh insights, making the engagement with her art perpetually enriching. As a visual artist, Jan Kaláb features with his vibrant, abstract designs that span across a range of mediums, from paintings and sculptures to NFTs, and installations. Emerging from the Eastern Bloc, Kaláb gained prominence in the urban art landscape. In the 1990s, he founded the influential crew 'DSK', pivotal in ushering graffiti into the Czech Republic and its neighboring regions. His expansive artistic influence seamlessly interweaves the worlds of street art, graffiti, and traditional gallery displays. Kaláb's work is characterized by its bright hues, intricate layering, and abstract forms that exude an organic feel. He amalgamates inspiration from an array of artistic genres, crafting decorative and illusionary compositions. Kaláb’s 3D graffiti, pushing the boundaries of his creativity, known alternatively as 'Cakes' and 'Point', these aliases mark distinct phases in his artistic trajectory, emphasizing the juxtaposition of graffiti's impulsiveness against the controlled realm of geometric shapes.