top of page

44 items found for ""

  • Oblo Gallery - Contemporary art meets philosophy.

    WHERE CONTEMPORARY ART MEETS PHILOSOPHY. Coming soon Avant Le Jour: Vincent Beaurin Interview May 26, 2024 'NO FUTURE': Humberto Poblete-Bustamante Interview April 15, 2024 Oblo Gallery Presents: "Go Forward" May 20, 2024 "Interchanging Prototypes": A conversation with Bety Krňanská BETY KRNANSKÁ: INTERCHANGING PROTOTYPES MEETING ÁLVARO LYDIA LEE: RUNNING LIKE WATER ERIK SOMMER: "DECAY IS BEAUTIFUL. AND WISE." EXHIBITION PROJECT Olympia Scarry: "Microwave Sky" Casa Venezia, Venice (IT) 22 April - 24 November 2024 MUSEUM EXHIBITION Wanda Koop: "Qui possède la lune" Musée des beaux-arts, Montreal (CAN) 11 April - 04 August 2024 SOLO EXHIBITION Pauline Guerrier: "Heterotopia" Romero Paprocki, Paris (FR) 04 April - 11 May 2024 Sign up for our mailing list on Oblo Gallery! The gallery's guide to events, zeitgeist and stories. Sign up for free to receive our Oblo Galley newsletter. As well as receiving a regular newsletter you will receive invites to our exclusive Oblo Gallery events, the best shows and much more. SIGN UP NOW Thank you for subscribing!

  • EXHIBITIONS + SHOWS | Oblo Gallery

    Exhibitions + Shows EXHIBITION PROJECT Olympia Scarry: "Microwave Sky" Casa Venezia, Venice (IT) 22 April - 24 November 2024 MUSEUM EXHIBITION Wanda Koop: "Qui possède la lune" Musée des beaux-arts, Montreal (CAN) 11 April - 04 August 2024 SOLO EXHIBITION Pauline Guerrier: "Heterotopia" Romero Paprocki, Paris (FR) 04 April - 11 May 2024 SOLO EXHIBITION Sarah Awad: "To Hold a Thing" Night Gallery, Los Angeles (US) on view through 27 April SOLO EXHIBITION "Something's wrong with Maya" Moosey Gallery, islington (GB) 27 April - 05 May 2024 GROUP SHOW ​"ebd. o. s." by Jenny Brosinski JVDW gallery, Düsseldorf (GER) 22 March - 05 May 2024 Sign up for our mailing list on Oblo Gallery! The art gallery's guide to events, trends and stories. Sign up for free to receive our Oblo Galley newsletter. As well as receiving a regular newsletter you will receive invites to our exclusive Oblo Gallery events, the best art deals and much more. SIGN UP NOW Thank you for subscribing!

  • Interview with Lydia Lee on Oblo Gallery

    "Show me the garden that's bursting into life" Lydia Lee / art.rtistiq Running like water It seems a symphony unfolding poured into oil paint looking at Lydia Lee's artworks... On our interview t he Seoul based artist reflects upon her goal in expression, the power of presence and rare beauty in the ever-changing. WRITTEN BY OBLO GALLERY . PUBLISH ED: MAR 10 , 2023 Time like water seem to be of fluid quality. Can be running fast, or frozen down. Both evaporate into transparence, change into different states, the latter unrecognizable from the prior. Impossible to hold on to one moment of time or a drop of water preserved and unspoilt. Flowing it encounters all kinds of marvelous life - beholds it and runs further - barely it takes possession, but saves it in the soul. Unknowing we make part of it already and cannot be without. Yet a will arises to hold against this current, and to stand ground - even if it's just for short. Lydia Lee possesses an unlike power to break this incessant stream of life whilst portraying it onto the canvas. WIP Lydia Lee / Instagram In the following Lydia Lee presents us with a fresh perspective on her artistic craft, the impact on creating that surroundings do have and discusses the pursuit of freedom in her work. Studio Insights Lydia Lee / Instagram "I think there is a unified flow that moves t he whole picture and the operability of various forces when looking into it. Great chords, fast strokes " HOW DO YOU BEGIN YOUR PROCESS OF CREATING WHEN YOU START SOMETHING NEW? I listen to a lot of music that makes me ecstatic and challenges me, and I do what I want to do without regrets. USING OIL PAINT, WHAT ARE POSSIBILITIES AND CHALLENGES TO THIS TECHNIQUE? The density and texture of oil paintings give me the sense of reality I want. I haven't found a limit yet. If I had to find it, I would like it to dry a little faster. CAN EXPRESSIONS EVER BE CONTROLLED? I do not know. When I draw, I make unexpected gestures other than what I thought. HOW DID YOU CHANGE AS AN ARTIST OVER TIME? As more and more people look at my paintings, my attitude towards the screen seems to have become more serious. "I am nothing" Lydia Lee / Saatchi Art DOES THE PLACE YOU LIVE IN AFFECT YOUR STYLE OF ART? ​ The place... sometimes it's really important and sometimes it's not. The location of Seoul was not such a attractive place for me from the beginning. However, imagining through media and booklets is also a solution. CAN THERE EVER BE REGRET IN CREATION? Of course. It is another event where the combination of my choices i s visualized. "The happy memory" Lydia Lee / Saatchi Art "There is a saying by Thales that once soaked in the water, it never comes back. I see change in itself." HOW DO YOU KNOW WHEN A PAINTING IS FINISHED? IS IT A DECISION OR MORE OF A KNOWLEDGE? Nothing ends. There is only recognition. Respect myself for every movement in the moment I drew it, and acknowledge it. ​ ​ ​ WHAT IS THE BEAUTY OF THE EVER-CHANGING? There is a saying by Thales that once soaked in water, it never comes back. I s ee change in itself. Lydia Lee / Instag ram HOW MUCH TIME IS A MOMENT? It can't be the same every moment. Normally once I hold a brush, I will spend three hours with the canvas screen. It is also essential to take a break in the middle. The bigger the screen, the harder and longer the focus to direct the whole thing. CAN ART BE PERCEIVED IN A WRONG WAY? Yes, of course. In my case, most of the symptoms are caused by lack of patience. Anyway, there are things that lead the screen by imagining and drawing continuously. However, if I run out of energy or my desire to paint weakens depending on my personal condition, I will inevitably go down an unwanted path. WHAT ARE SURROUNDINGS THAT INFLUENCE YOUR CREATIVE POWER? It is a very harmonious, elegant yet magnificent scenery, people and architecture. If it's a big city that comes together, it's very exciting. Any space where I can witness or experience modern change is great. Occasionally, a unique character from a novel or movie is also a good influence. And the feeling of being in love has a good effect, especially in a relationship with an erotic person. WHAT MAKES A GOOD PIECE OF ART? The goal you want to express should be clear. Beautiful colors require a continuous change of thinking along with a clear imagination through color. The mind is insanely busy, and the hands move frenetically to keep up with the thoughts. All materials must be in a place where the eye can observe so they can be quickly transferred to the screen. What kind of flow will I create? What place will I draw? And how would I describe the light? "Paradise" Lydia Lee / art.rtistiq "The charm of abstract painting is that the formative relationship between shape and color can give viewers meaning. I want to be seen as something completely different." CAN DEPTH BE SEEN ON THE SURFACE? Depth for the screen also works as part of the canvas cloth. Consider the various colors drawn on the surface, the direction of brush strokes, and the material. And above all, the oil painting material gives a sense of depth for each color. Different brands of the same blue are considered shallow and deep seas. And the depth of the screen determinate the overall flow of light in the picture. In my paintings there is a clear between light and what is experienced in the three-dimensional world we live in. For example, what I experience when I see a material that reflects the dazzling sunlight is reflected in the beauty of specific parts on the screen. I am always moved by the fact that all of this can perceive a different sense of space through light. WHAT IS A POEM OR A PIECE OF MUSIC THAT IS A SOURCE OF INSPIRATION TO YOU? Such a medium makes me a completely different person. There I find a sense of immeasurable freedom and a state of being able to work. Instead of seeing things as they really are, they come into a relationship with me, making them completely different entities, and they even omitted and transformed. I'm mainly interested in connecting them from some sort of inner journey. ARE SPACES AN EXPANSION OF OURSELVES? Sure! I'm sure I will never see the world for myself. That's why there are some collectors or just viewers who appreciate my paintings. For example, it is said that we live in a three-dimensional space, and we sense light, color, and movement in it. The sensations we receive meet each of our sorrows, fears, joys, loneliness, and boredom to create new perceptions, which I focus on. The charm of abstract painting is that the formative relationship between shape and color can give viewers meaning. I want to be seen as something completely different. ​ THE DEFINITION OF A GOOD DAY? It's a perfect day if I know exactly what I'm thinking, the direction I'm going to go ahead and am overflowing with ideas that even concrete designs are build. Lydia Lee/ Instagram HOW IMPORTANT IS STABILITY IN AN ARTIST'S PROFESSIONAL LIFE? It seems to be important where stability is needed. Of course, it would be nice if the food problem could be solved. However, there have been many times where I thought to myself that this was not the wright answer. Abundance leads not necessarily to good results. As long as the direction is clear to go is clear and firm, I don't care too much about anything other than financial stability. WHAT LIES BEYOND TIME AND SPACE? Well, I don't know either. Why are there so many scientists, philosophers and artists? Because there is something unknown that no one knows, we stutter and fight until we die in the artificially created numbers of time and space, and it seems that we have only a moment's pleasure. OF ALL YOUR GREAT ACHIEVEMENTS AS AN ARTIST, WHAT ARE YOU MOST PROUD OF? I think there is a unified flow that moves the whole picture and the operability of various forces when looking into it. Great chords, fast strokes STUDIO INSIGHTS ​ÁlVaro Working Progress DO YOU HAVE A FAVORITE COLOR? Nothing special. At that time, my favorite color changed. Lydia Lee in the studio WHAT DOES FREEDOM MEAN TO YOU AS AN ARTIST? I am most free when the relationship between my blood and heart is smooth and there is moderate tension. To be honest, there are many times when I only draw pictures like this. It is no exaggeration to say that the rest of the time is almost in a state of obsessive compulsive disorder. There seems to be some nervousness and sensitivity lurking there. When I leave the studio behind I brush, I fall into a position of committing a crime and running away. I have this kind of experience all the time, so I don't have a lot of free time. I don't have a single moment where I'm completely out of my work. ​ I do not know. A long time ago, when I was in high school, when I went on a trip to the Western United States with my family for the first time and saw Mother Nature unfolding before my eyes, I forgot about myself for a while and was completely obsessed with it. I have never experienced such an experience since then, and whenever I draw, I see that place as my utopia. ​ For inquiries about Lydia Lee's artworks go to the linked website .

  • "Expect nothing" by Krňanská | Oblo Gallery

    Bety Krňanská "Expect nothing" Bety Krnanska (b. 1992) is an artist based in Prague. Her work has been exhibited at home and abroad, including the exhibition ,,A Scattering of Salts''American Institute of Greece, 2023, Effimisms at MISC Gallery Athens/GR, The WORLDS (Drawing Triennale in Wroclaw, Poland) curated by Honza Zamojski and the SWAP Barcelona Art-Fair in 2021. Price on request Unique work - 1 piece REQUEST NOW Painting details Dimensions 59,05 inches x 78,74 inches 150 x 200 cm Medium beeswax, inks, pigments, dye, rust dye, patchwork, digital print, cotton canvas, glossy anti UV varnish Finishing signed on back by the artist, certificate of authenticity included Year 2023 Artist Bety Krňanská 11 artworks Discover more artworks by Bety Krňanská Bety Krňanská "Laid back" Bety Krňanská "Nothing without intention" Bety Krňanská "Pop out" Bety Krňanská "Mirror" Bety Krňanská "Take a good look" Bety Krňanská "Untitled" Bety Krňanská "Less is less" Bety Krňanská "Follow" Bety Krňanská "Twirl" Bety Krňanská "Untitled" (2)

  • Exhibiton by Germán Bel on Oblo Gallery

    'Bajo la luz de Sorolla' Pioneering urban artist Germán Bel "Fasim" exhibits his most recent artworks in his first solo show at La Mercería featuring a contemporary revision of landscape and lightening. LA MERCERÍA, V ALENCIA APR 13 - MAY 26 20 23 It is said of Joaquín Sorolla that he hated darkness. He once cited Claude Monet saying "that painting in general did not have light enough in it", and added: "I agree with him. We painters, however, can never reproduce sunlight as it really is. I can only approach the truth of it." Germán Bel, renowned Barcelonian contemporary urban artist, dedicates his first solo exhibition at Galeria La Mercería to that one protagonist shared by all of Sorolla's works: the sheer intensity of light . "I often contemplate the Valencian sky from my studio, which is one of the most luminous lights in Spain, and I remember that it is the same light under which Sorolla worked", Germán says. ​ The exhibition is the second and last part devoted to a series of 'erased landscapes' Germán Bel began during the time of the pandemic, that culminates now in 2023. In the bygone y ears the artist experienced a phase of high creativity experimenting with various techniques such as printing paint on canvas with materials like plastic or clothing, grattage, frottage or decalcomania. Germán Bel explores the genre of landscape as a metaphor for the world. While Joaquín Sorolla painted from life, often brief and quick sketches of the exterior, Germán paints landscapes that emerge from the interior of the visionary experience. They are suggested landscapes, 'insinuations'. Like the illusory needle of Vermeer's lace maker , they belong to the m undus imaginalis , the world of the soul, fruit of the visionary experience and not of perception. Imagination is understood by Germán as the magical production of an image. Imagination and reality do not exist separately. Creative action is magical, the image is defined as a body in which the will or thought of the soul is embodied. ​ In the following a selection of the works of Germán Bel "Fasim" is presented that will be exhibited at La Mercería until the 26 of May 2023. The accompanying quotes are taken from the exhibition's introduction and Germán's Instagram. ​ ​ ​ 02 'Landscape III' mixed media on canvas, 2023 30 x 30 cm Imagination should not be confused with fantasy as Paracelsus observed: "F antasy is the cornerstone of the insane", because fantasy is what has to do with phantasms, with what is not real. Imagination is a means of knowledge. 01 'Intense Light' mixed media on canvas, 2023 57 x 57 cm The awakening of the inner eye, the idea that the artist must become a visionary. Artistic creation is closely linked to the visionary experience, according to Victoria Cirlot : "Visionary is the one who does not see through the physical eyes, but through what we call the inner eye. And what is seen are not physical materialities, it is not an object of perception, but inner realities, mental, dreamlike images, which have a texture similar to that of dreams and which will later be transferred to supports to constitute what we call plastic images. 03 'Landscapes of the orchard II' mixed media on canvas, 2023 67 x 67 cm If artistic creation is a great mystery, the creative impulse of the human being reflects, like a mirror, a greater mystery that is existence. "Art is to be absolutely oneself". Baudelaire said. 04 'Moonlight' mixed media on canvas, 2023 65 x 65 cm There is no reason for hope, only for resistance. Our duty is to withstand the fetid winds of the idiocy and rottenness of the world. However, that should not prevent enthusiasm, nor euphoria, nor joy, nor anything that we humans are capable of even in the most detestable circumstances. From his pessimism Baudelaire extracted, like a sacred matron putting her hands in the entrails of the Good, the greatest poetry of his century and the sharpest reflections on artistic creation in times of misery. "The poet's voice need not be simply the record of the man, it can be one of the props, the pillars that help him to endure and prevail." Faulkner That remains the task of writers and artists in times of misery, 'to endure and prevail.' Félix de Azúa, Baudelaire and the artist of modern life 05 'Emerging landscape I' mixed media on canvas, 2023 120 x 120 cm For inquiries about the artworks by Germán Bel "Fasim" exhibited at La Mercería go to the linked website .

  • "Pop out" by Bety Krňanská | Oblo Gallery

    Bety Krňanská "Pop out" Bety Krnanska (b. 1992) is an artist based in Prague. Her work conceptually explores the interconnections between environmental issues and contemporary gender challenges. Her personal vision is shaped through the lens of maternity and feminine sensitivity and is informed by her experience as a young mother and artist. Price on request Unique work - 1 piece REQUEST NOW Painting details Dimensions 59,05 inches x 78,74 inches 150 x 200 cm Medium beeswax, patchwork, dyes, pigment inks, sublimation dyes, glossy anti UV varnish Finishing signed on back by the artist, certificate of authenticity included Year 2023 Artist Bety Krňanská 11 artworks Discover more artworks by Bety Krňanská Bety Krňanská "Expect nothing" Bety Krňanská "Laid back" Bety Krňanská "Nothing without intention" Bety Krňanská "Mirror" Bety Krňanská "Take a good look" Bety Krňanská "Untitled" Bety Krňanská "Less is less" Bety Krňanská "Follow" Bety Krňanská "Twirl" Bety Krňanská "Untitled" (2)

  • About Magdalena Cichon on Oblo Gallery

    ABOUT Lourdes Navarro Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Website Instagram SELECTED WORKS

  • Menu I Oblo Gallery

    MAGAZINE CONVERSATIONS FEATURED ARTISTS FEATURED GALLERIES ARTWORKS ABOUT PODCAST & VIDEOS EVENTS EXHIBITIONS + SHOWS WORK WITH US Search Mailing List

  • Interview with Bety Krňanská on Oblo Gallery

    BY OBLO GALLERY 08 APRIL 2024 Bety Krňanská / Instagram Interchanging Prototypes Bety Krňanská tells on how remembrance of previous misconstrue and the repetition of pattern are linked forces in her work, the irritating absence of sway in a creation, and the concealment an objectification can bring. BY OBLO GALLERY 18 APRIL 2024 ​ Intertwined in a web of modern commentary on female image, so casual as it is derisive, and the feral, unlooked for cosmos a woman learns herself to be as, Bety Krňanská touches upon the threads of a story told by tradition and whisper, of what a woman shall be, all she ever could be, and rips it apart carefully. Beeswax allows separation and the effect of transparency on the canvas, crafting techniques of long gone days strike up memories we had not ready to recall as anew. Working and living in both Athens and Prague, Bety lifts surrounding structure and societal proposition through the method of technological and manual modification upon to a creation of artworks that can show prototypes interchanging between what the eye was told to see, and what sets it free to watch unfold some boundless. ​ Bety Krňanská / Instagram In her interview with Oblo Gallery Magazine the artist considers her ways of creating, the cataclysmic translation of an objection to the abstract image and the role that tradition plays within a digitalized public. VIEW ALL WORKS Bety Krňanská showing her works BY OBLO GALLERY ONLINE ​ What does fragmentation do to an image that was tamed to be showing a mere trophy? The pictures I have been using in my recent paintings were found and downloaded from the online database. Pictures, once taken by real photographers, showing real persons, that are uploaded to the cloud impossible to reach and manipulate again. Girls who once were photographed on these pictures are in the online drawer under the label "sexy girls, posing next to the luxury cars". The physical fragmentation of the once found and printed picture, deconstructing, cutting them into pieces and putting them back together in a different order by sticking, creates the whole picture into abstract composition, showing parts of the bodies, materials, organically and artificially blending them together into one. The women who once in the online database lost their identity are getting anonymity through the painting. "Follow" by Bety Krňanská beeswax, patchwork, dyes, pigment inks, sublimation dyes, glossy anti UV varnish, 2023 150 x 200 cm from the series Unexpected Encounters REQUEST NOW Is tradition surprise’s worst enemy? ​ Traditions can be surprising in a way, how we are looking at them with fresh eyes. The context of the society is constantly changing but if we look back, we can get inspired in many ways. We can either deny the context in which the things were put or add the contemporary ideas on the past. Also some things from the past, for example those which were closely rooted to the nature and natural cycles, can be inspiration in todays world. In my work specifically, the tradition is something I was observing through my whole life, and as an idea which would make no sense in todays society. Crocheting and patch-working as a domain of woman, who were mostly staying home, taking care of others and the house itself, and also valued through their manual skills. Me personally, I value the traditional manual work, in the context of machine production, of easily reproductive things. Prototyping is for me a fundamental part of the process of materializing an idea. ​ What goes into your process of choosing material and color? ​ My sources of inspiration when it comes to selecting materials are mainly tradition, natural elements and technologically manufactured elements. I am selecting materials which are associated with tradition, such as crochets, patchwork and textiles. I also use natural materials such as beeswax, that allow me to keep the watercolors separated from the wax reserve and also gives the transparent effect to the canvas, so the painting is working both sides. The wax batik technique is traditionally used for depicting design and patterns on fabrics and I find the juxtaposition of this technique and the contemporary digital printing technique interesting that I also use in my works. Bety Krňanská / Instagram Does a prototype ever show up in its representation? ​ Prototyping is for me a fundamental part of the process of materializing an idea. Of course afterwards the idea develops further, expands and sometimes the initial prototype might be significantly changed. However, somehow it always remains as the supporting basis of the entire artistic journey. ​ ​ Is motherhood much alike creation of art? ​ Like when you make art, when you bring a child into this world, you have some ideas and preoccupations but your creation has a life of its own and develops in ways you wouldn’t expect and I find this as one of the most interesting elements of creation. "Take a good look" by Bety Krňanská patchwork, dye, digital print, rust dye, beeswax on canvas, 2022 28 x 35 cm from the series Too Hot to Think REQUEST NOW "Laid back" by Bety Krňanská beeswax, inks, pigments, patchwork, digital print, crochet doily, cotton canvas, anti UV varnish, aluminum custom frame, 2023 60 x 95 cm from the series Unexpected Encounters REQUEST NOW Experimenting with old crafting techniques, what realm it makes you tap into? ​ The realm of tradition aims to bring to peoples' mind the association of textile crafting techniques with the stereotypical female roles of the past, and the way that these concepts evolve through fashion and digital media in our era. ​ ​ ​ Are remembrance and repetition two different forces? ​ I think these two forces are linked and coexist. Remembrance and knowledge of previously made mistakes is what sets the basis of avoiding them in the future. In my work, I believe that this concept of repetition shows up through my patterns . ​ ​ Through the vail of trivial objection to submission, what is a women? The initial objection to submission is necessary but it's not all about that. Women in order to be complete and independent need to develop a deep understanding of themselves and their needs and this requires time and it is not always linked to our relationships and the reaction to the acts of others. After objecting the submission to something that hurts us, a much more difficult and longer journey starts, that of knowing yourself. After objecting the submission to something that hurts us, a much more difficult and longer journey starts, that of knowing yourself. "Nothing without intention" by Bety Krňanská beeswax, marbling, inks, pigments, patchwork, digital print, crochet doily, cotton canvas, anti UV varnish, 2023 50 x 60 cm from the series Unexpected Encounters REQUEST NOW Is the medium part of the matter? ​ For me the use of various mediums is the basis of supporting my ideas and narratives. Sometimes it is just a visual attraction toward a certain medium that can resonate with current mood and happens spontaneously. Other times I select my mediums through research and more extensive thought process. ​ ​ What remains a fount of inspiration to you wherever you go? ​ I draw inspiration from everyday life in cities I have lived or visited. Unique elements of design or architecture exists in every city and although they are perceived as mundane from the locals, it can be great inspiration for me as a visitor. These unique elements always find a place in my work somehow, while I am spending time in different parts of the world. For example the metal work patterns I have seen in architecture in Athens; this repeated following of a part pattern creates a symbolic shield/barrier ‘'protecting'' the fragile female images in my work. Bety Krňanská / Instagram Also what is made by hands, is unique, with its imperfections, asymmetry and that makes it human. Is sensitivity a dangerous thing? ​ Sensitivity can be overwhelming, but for me it is a necessary element for creation. Although it might appear as dangerous it can be cultivated as a source of strength both artistic, and in our lives. ​ What’s more profound when said by the hands? ​ I see hands as a medium for communication, which can be as powerful as words. Hands can express emotions, statements. Also what is made by hands, is unique, with its imperfections, asymmetry and that makes it human. Bety Krňanská / Instagram Would your artworks ever been read in a wrong way? ​ I don't believe in a wrong or right way reading art, but if the images in work are perceived in different ways, it also depends on the viewers life experience. ​ If the images are considered reproducing stereotypical views than I guess this is far from the ideas which I put in my work. ​ Is technology the knack of arranging the world so we don’t have to experience it? ​ It definitely is. It is a way to arrange our realities, and to manipulate the way we are thinking and processing the world. As humans we have senses which we can also strengthen or numb, and technology is exactly doing that, focusing our attention more on visual and hearing stimulation. However we need to remain conscious about this effect of technology on our senses and also focus on developing the rest of our sensing for example from experiencing nature which we are inseparable part of. All rights of image are reserved to the artist Bety Krňanská herself. ​ Artworks by Bety Krňanská available on oblogallery.com you find here . ​ More From Oblo Gallery Magazine Meeting Ál Varo: As the Luanda born artist talks creation, a spirit truly lifted comes to the fore Running like water: Lydia Lee reflects upon her goal in expression, the power of presence and rare beauty in the ever-changing Subscrive To The Oblo Gallery Newsletter "Decay is beautiful. And wise.": NYC contemporary artist and art curator Erik Sommer dedicating his artistic powers to the catch and recreation of expiry, decay and decline ​ ​ Bety Krňanská Buy Art Online Sign up for our mailing list on Oblo Gallery! The art gallery's guide to events, trends and stories. Sign up for free to receive our Oblo Galley newsletter. As well as receiving a regular newsletter you will receive invites to our exclusive Oblo Gallery events, the best art deals and much more. SIGN UP NOW Thank you for subscribing!

bottom of page