contemporary fine art print by artist Vojtěch Kovařík
Hakuho by Vojtěch Kovařík
$167.00$225.00 Select options

Hakuho by Vojtěch Kovařík

$167.00$225.00

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

Clear

14 day guarentee

Worldwide shipping

No import/customs fees guaranteed on UK, EU, AUS & USA deliveries

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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 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

Paper
Sustainably sourced 220gsm archival grade fine art paper

Printing method
Printed using water-based inks and professional 12-colour giclée printers, giving it colour vibrancy that’s protected for 80+ years

Shipping
Shipped in rigid, crush-resistant, spiral wound postal tubes

Handcrafted frames

Premium materials
Made from high-quality, sustainably sourced and FSC certified wood. Finished with an acrylic glaze for greater durability and UV protection

Handmade
Milled with simple clean lines and presented with a satin finish by a specialist picture framer

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

Shipping
Arrives ready to hang with the necessary back fixture

Popular FAQs

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 type Print size Price +Items
Print A4 – 12×12″ £1.99 £0
11×14″ – 12×16″ £2.49 £0
A3+ £4.99 £0
Framed print All £9.99 £0

Zone 2 Delivery Prices (Europe)

Product type Print size Price +Items
Print All €7.9 €0
Framed print A4 – 18×24″ €11.30 €0
20×28″+ €16.95 €0

Zone 3 Delivery Prices (Australia)

Product type Print size Price +Items
Print All AU$11.20 AU$0
Framed print A4 – 18×24″ AU$14.30 AU$0
20×28″+ AU$20.40 AU$0

Zone 4 Delivery Prices (US)

Product type Print size Price +Items
Print A4 – 24×32″ $6.20 $0
A1+ $14.25 $0
Framed print A4 – 18×24″ $17.35 $0
20×28″+ $24.75 $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

What is your returns policy?

My item arrived damaged, or I was sent the wrong item
On rare occasions, items can get damaged in transit. If this is the case, simply let us know within 14 days of the item arriving and we’ll happily get a replacement sent out. Simply send us a few photos of the damage

Additional information

Item Details

Artist

Vojtěch Kovařík

Dimensions

28×35.5cm / 11×14"

Orientation

Medium

Size Chart

Prints

6x8" (15x20cm)
8.3x11.7" (A4)
12x12" (30x30cm)
11x14" (28x35.5cm)
12x16" (30x40cm)
11.7x16.5" (A3)
16x20" (40x50cm)
16.5x23.4" (A2)
20x20" (50x50cm)
18x24" (45x60cm)
20x28" (50x70cm)
24x32" (60x80cm)
23.4x33.1" (A1)
28x28" (70x70cm)
24x36" (60x90cm)
28x40" (70x100cm)
33.1"x 46.8" (A0)

Frames
When ordering a frame, the size listed is based on the size of the glaze and does not include the frames front face

Depth from wall

23mm (0.90")

Front face width

22mm (0.86")

Window Mounted Frames
(Often called mat / passe-partout)

When ordering a frame with mount, the size listed is based on the size of the glaze and does not include the frames front face. The thickness of our mounts is 1.4mm (0.05"), but the width - distance from the frame edge to the print - depends on the size of the frame:

10x10" or below

1" mount

11x14" or below

1.5" mount

12x16" or above

2" mount

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
pose.

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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