The Dot Project is a contemporary art gallery based in Chelsea. They specialise in promoting emerging new artists whose talents are displayed in their innovative art space. They contacted us to produce some canvas art for an imminent exhibition titled ‘The Kings Are Back’, which featured the work from Julius Reichel, Martin Lukáč & David Krňanský, 3 artists from the Czech Republic collectively know as ‘The Black Hole Generation’. They had created 6 new pieces combining their abstract art with text graphics to create some outstanding individual prints for canvas.
It was up to us to faithfully reproduce this vivid artwork in a large format from the digital files that the gallery had provided.
The finished size needed to be 1450mm x 1800mm. The final printed canvases would be stretched onto a 45mm deep timber frame.
To ensure the client was happy with our efforts we sent them a test strip of each print so they could see the final colour and print quality. The client was very happy with the quality and we discussed the possibilities of making some very minor tweaks to perfect the depth of colour to enhance the print files before proceeding.
Print approval was given, and we set about producing the 6 canvases in time for the preview party at the gallery. We used our 340gsm art canvas material for the prints. Our widest roll was needed to print these artworks onto. The giant timber frames were assembled & finished in our workshop and stacked ready to use once the print process had finished. The canvas was trimmed to fit, stretched over the frame, tensioned and then stapled into position. Wall hangers were fixed to the rear, and they were wrapped and packed individually ready for the door to door courier to take them to Chelsea. The prints we made would accompany 12 original paintings.
The text below are the galleries notes from the exhibition.
The exhibition features twelve new paintings and six prints from Krňanský, Lukáč and Reichel. The paintings suggest much but disclose very little. Although visual clues lie within the canvases – arrows that point to something and tracks that could lead somewhere – much is left unsolved. Bright colours are always met with darker ones that hide and obscure. The playful shapes in Krňanský’s paintings are covered by black, blue or red. In Lukáč’s paintings, primary colours are hidden under thick black marks. In Reichel’s paintings, vivid oranges, pinks and yellows are met with deep blues, purples and greens. It is as if the works are asking us to decode something while at the same time destroying any progress we might make. Exhibited in the lower gallery, prints on canvas reflect an era of overproduction and digital reducibility. It is an attempt at the possibility of maintaining the atmospheric state of the paintings outside of their original body. Equally, this method overrides the originals by creating a new language through printing.
