Peter Fabo

  • Czech Republic (b. 1983 in Sušice)
  • Currently in Prague, Czech Republic.
  • EDUCATION 1998 - 2002 Technical Collegiate in Spišská Nová Ves, study of stone sculpture, Slovakia 2004 - 2010 VŠUP Prague, branch photography since 2010 lector at VŠUP Prague
no title ( ready-made 40 x 60 )

no title ( ready-made 40 x 60 )

  • 2015
  • Wood, shellac, lead

  • 026a7764
  • 026a7767
  • L O N G E R - thumbnail Father - thumbnail L O N G E R - thumbnail no title - thumbnail  L O N G E R   ( spray painting on the wall and wooden rulers ) - thumbnail 1/2 off - thumbnail Nail Art - thumbnail installation view / Varnish - thumbnail Varnish - thumbnail STEALTH 01/02 - thumbnail VARNISH - fix and stick - thumbnail no title ( ready-made 40 x 60 ) - thumbnail COOL - thumbnail piano wing no. 02 - thumbnail Chess - thumbnail no title ( pages ) - thumbnail

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    3 Exhibitions | 2015

L O N G E R 2015 Text: Tomáš Klička Is the direct correlation "the longer the better" correct? The viewpoint of quantity is tempting and gets promoted not only in the field of economics, industries and adult films complex, but also in the field of culture. Over-production in art could lead to a reaction in form of routing towards approaches based on handicraft and carefulness, which, however, threaten with - just like on a banana peel - sliding onto self-purposed virtuosity. "No good work of art can endure hurry," such is one of lines from the Renaissance morality Ship of Fools, and Peter Fabo turns from photography to patience - demanding intarsia. Fabo's up-til now purely abstract patterns done with intarsia have gotten themselves a new hero - banana. Rooted spectator interpretation schemes could connect the exotic fruit processed using a technique burdened with the historical connection with the European ruling class with post-colonial critique, however a banana has the potential of communicating more intimate themes as well, as 'Father bearing all the weight of the world' shows. But take care with the redemptiousness, too: "One who would want to put the whole globe on one's shoulders would fall into the abyss straight away". The use of CMYK colors already reminds us of Fabo's work with technically reproducible image, just like in case of Longer which encompasses the gallery space, a grey box, and is, most likely, a product of curdly dudebros' length competitions. But even though irony is for the cowards afraid of pathos, just like we are, site-specific also has a more personal undertone, which it is indecent to burden with at a summer exhibition. Varnish ( having us on ) Text: Kamil Nábělek In his work, Peter Fabo derives from his experience as a photographer who understands photography not just as production of images, but first and foremost as a medium. In photographic medium, its materiality as well as possibilities of its transformation are what interest him the most. In the same manner, he considers the spatial effect and alignment of the individual images. For SET gallery, he has prepared an installation reacting to its spatial segmentation. The basic architectonical alignment is used as a forming element, being respected and at the same time undermined. The most important feature within the installation are the colorful spray paintings that dictate both the gallery's space and its emotional effect. The second forming element is a set of installations and photographic images, reacting to given spatial circumstances. The conceptual and tech skill, even handicraft aspects emerge in them in a layered and contextually variable unity. Peter Fabo represents himself as a conceptually thinking and at the same time, a sensually considerate author. čočo #2 no text ...