Alter Ego by Vojtěch Kovařík

From  $253

FREE global shipping with 2+ items

Contemporary giclée print produced on industry leading, 308gsm Hahnemühle Photo Rag fine art paper, giving it a matte finish with a chalky smooth cotton feel. This is a premium, heavyweight paper made of 100% cotton rag. Why not add a bespoke, real wood frame

Edition size: 5

SKU: 7036 Categories: , , Tag:
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Up to 90% of profits go to the artists

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Run by creatives, we not only collaborate with some of today’s most vibrant and talented young creatives, but we are committed to championing and financially empowering them. Which is why we give them up to 90% of the profits

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Eco-conscious production

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The paper and wood we use is sustainably sourced from FSC-approved forests and we only use eco, water based solvent inks, which are significantly less hazardous

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Global fulfilment & delivery

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With a network of print studios dotted across the UK, Europe, US, Canada, and Australia, we utilise technology to print as close to you as possible. This reduces your delivery costs and our carbon emissions


Premium-quality prints

Only top quality, archival grade fine art papers are used

Printing method
Professional 12-colour giclée printers produce insane detail and colour accuracy. So when paired with official UV inks, you get stunning prints with colour vibrancy that is protected for 80+ years

Shipped in sturdy postal tubes

contemporary fine art prints

Handcrafted frames

Premium materials
Made from high-quality, real wood and finished with a premium acrylic glaze, for greater durability and UV protection

Made-to-order and handmade by a specialist picture framer

Carefully glued, pinned and sanded for a seamless look and feel

Frame measurements
20mm (front face) by 23mm (depth from wall)

Arrives ready to hang with the necessary back fixtures

contemporary fine art print frames

How should I care/look after my print?

Giclée prints are renowned for their quality and extreme longevity, which is why they’re displayed in museums, art galleries and private collections. So it’s important to properly protect and care for your new pride and joy. This is why we always say it’s best to buy your print already framed, as this will avoid it getting damaged. But if you’d prefer to buy a standalone print or use your own framer, try to avoid leaving it rolled for too long

To uncurl or flatten a print, carefully remove it from the postal tube whilst keeping it covered in the protective acid-free tissue paper. Lay it out on a clean, flat surface, image side up. With the tissue paper covering the print’s image, place some smooth, flat objects (like books) on the ends and middle of the print. Let your giclée print relax over-night and it should be nice and flat. Avoid uncurling it by rolling the print the opposite way to receiving it, as you can easily crease it if done incorrectly

Having a frame that is FSC certified and created from 100% acid-free materials is vital. It keeps the artwork in mint condition across the years and ensures the colours stay true. If you don’t opt for one of our frames, make sure you buy one of the same quality, otherwise, the materials can damage the print over time and sunlight could fade the colours

What are the delivery costs?

You just pay the largest fee, with no additional cost for more items. So if you order 1 print and 1 frame to the UK it costs £9.99 or if you order 7 frames, it’s still £9.99

Zone 1 Delivery Prices (UK)

Product typePrint sizePrice+Items
PrintA4 – 12×12″£1.99£0
11×14″ – 12×16″£2.49£0
Framed printAll£9.99£0

Zone 2 Delivery Prices (Europe)

Product typePrint sizePrice+Items
Framed printA4 – 18×24″€11.30€0

Zone 3 Delivery Prices (Australia)

Product typePrint sizePrice+Items
Framed printA4 – 18×24″AU$14.30AU$0

Zone 4 Delivery Prices (US)

Product typePrint sizePrice+Items
PrintA4 – 24×32″$6.20$0
Framed printA4 – 18×24″$17.35$0

Zone 5 Delivery Prices (Canada)

Product typePrint sizePrice+Items
Framed printA4 – 24×32″CA$29.99CA$0
A1 – 28×28″CA$79.99CA$0
What are the delivery times?*

To eliminate waste and allow for our bespoke frames to be handcrafted, everything sold on DROOL is made to order. But this doesn’t mean crazy long waiting times, as print labs operate 24/7. Unframed prints are usually dispatched within 2–4 working days and framed prints are normally dispatched within 3-7 working days. *Please allow for longer production times during the coronavirus outbreak

Additional information


Vojtěch Kovařík


30x30cm / 12×12"



To be a painter in the 21st century is a rather hazardous enterprise: you have to address a multi-secular tradition and yet manage to reinvent the medium.

This is one of the greatest achievements of Vojtěch Kovařík’s work. His painting  never departs itself from the long history of figurative representation. On the contrary, it fully embraces it, to better subvert it.

Born in 1993 and raised in the Czech Republic, Vojtěch Kovařík spent his entire life into iconography and mythology, thanks to his parents, both art lovers that brought him and his brothers to every great European museum, and took them, every summer, to Greece.

Mythology is a fundamental topic for him. The antique one – Tiresias, Achilles, Apollo, the Hesperides, Hercules –, as the modern one – contemporary boxers such as Mike Tyson or Samuel Peter, Hakuho the sumotori, night-clubs – are the recurring
subjects of his painting.

Vojtěch Kovařík’s canvases reflect his deep knowledge of art history : schematic figures evoke Picasso, expressive colors bring back Matisse and Gauguin while the work on volume let see Fernand Léger’s influence, especially in that way of suggesting relief in a desperately plane surface. That’s probably because Kovařík first dealt with ceramics and sculpture, and started painting later, only as an autodidact. This self-taught formation let him, in his own sayings, mix oil, acrylic and spray. Self-taught so, but very aware of painting history: his re-reading of mythology send us back to Picasso and Baselitz, while his rough figures, planted in vegetal backgrounds made of separate leaves, seem to emerge directly from a Henri
Rousseau’s jungle painting, another declared influence of Kovařík.

This reference to the Douanier Rousseau, another self-taught artist, is quite interesting. Rousseau also produced a rather “manufactured” painting, artificial in a good way: it never comes close to an illusion, asthe painter prefered presenting a world entirely rebuilt by painting, then viewed as an autonomous language.

It is all about building. Building identity. His choice of seizing Greek mythology comes from a necessity, as this group of tales and stories constitutes an important part of European cultural and collective unconscious. Its characters, even if they are well known, are rebuilt in his work. Physically¸ first: those familiar figures on vase, bas-relief and sculpture become strange beings with blue, green, dark or yellow skin. Structurally then: their bodies are always circumscribed by a frame in the canvas, that forces them to contortion – they always seem defeated by the form of the frame, a frame that is doubled by the artist who systematically paint a fake border.
Narratively, eventually: Kovařík appears to re-tale well known stories but in a different way, or to add new chapters: the Hesperides, daughters of the Night, transform into vigorous men, so as Artemis who, far from fitting to her frail archer archetype, morphs into an imposing death figure. Conversely, manly characters display postures evoking fragility and introspection.

Sexual archetypes seem to be an important topic of a work that summons such key figures of masculinity building: gladiators, boxers, sumotoris, gangsters, heroes… however displaying them in a rather ambiguous way. Those archetypes are filled with doubt and questioning. Their faces are often blurred (Hakuho, David, Knock-out) or presented as masks (Hermes, Iron Mike, Gladiator), showing their difficulty to claim a firm identity. Goliath is depicted in pink while Prometheus strikes a quite sensual

More than a myth rewriting, Kovařík only went back to the source. There are always several versions of one myth, as truth is rarely unique for the Ancient Greek. Beings aren’t permanent, but are always trying to stick to themselves. Speaking of sexual archetypes, they are quite different from ours: manhood models such as Hercules or Achilles cannot be described as hetero or homosexuals, having partners from both sexes. By re-taling the story of well-known characters, by showing how much frame goes as far as altering one’s body form, the artist underlines the importance of context regarding gender definition. Yet, his masculine as his feminine figures are always depicted as robust: they remind us of Bourdelle’s patriotic allegories or of
udarniks, those model workers shown in Socialist countries public art.

This is where Kovařík’s work shines: by marrying those different types of storytelling, the mythological one, the political propaganda one, the contemporary imagery one, but first and foremost, the modern painting one, Kovařík gives birth to a painting that bears the figurative tradition, yet opening a path for a open-ended future. His pictures help this world mutation, and those mutant identities invite us to invent our own, as his Tiresias who shows us his back. The famous Tiresias who was, alternatively, man and woman.

These big sized paintings, highly immersive, vividly colored, are the living proof that a young artist can know and love art history, and yet create a new chapter of it.

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