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When Jan Kaláb was born in 1978 in Czechoslovakia, graffiti was not to be seen in the Eastern World. In the nineties, as the country was opening itself to western influences, he became one of the pioneer of the local scene, and founded an iconic crew, the DSK. Sleepless nights around train yards, light tubes at police stations and above all hard work on his style: he went through all the classical steps of a writer’s career. Through Europe, he made a name for himself as Cakes. Next step to the Hall of fame: New York, where he made a big impression by painting whole cars in 2000, alongside with Key and Rome. Around the same time, he found a new way to push his own limits and challenge himself: 3-D Graffiti. Under the name of Point, he sculpted huge abstracts letters he chose to put in the streets and on the walls. The highest the better. This was another form of graffiti, in daylight, and without a spray, but truthful to the spirit of competition and innovation of the urban scene. Those sculptures lead him to abstraction, a path he’s been exploring through canvas from 2007, using acrylic painting and brushes.
With time, his forms became more and more geometric. He used colorful squares and circles as an obsessive vocabulary for infinite variations around depth, time, and motion. Playing with circles conveyed organic imperfection and swing into his work. Dynamic is also crucial in his recent experiments, when he took pictures of some of his paintings in the streets of New York or other cities. The project became a social one when he realized he needed help from strangers to carry the canvas. This is no surprise, since collective energy is crucial in his creative process.
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