“With respect to spatial objects I’m interested in the question of spaces and partial spaces and their complete vanishing not only “into space” but also “in time”...” (Jan Fabián, 2014)
In his art he utilizes the ethical function of each piece of his work, and through his individual projects he leads to contemplation over automated processes or he brings attention to the unbalanced relationships towards the environment. His works include spatial art, architecture, design and digital picture. His economical installations, objects and interiors give the impression of equilibrium and refreshing of the mind. He bases his work on his observations of reality and, at the same time, he belongs among the permanent searchers of meanings without the unnecessary burden of tragedy.
Many of his projects treat ecological unsustainability. This topic is most often present in his installations. This includes his gentle intervention in public space in 2008 when he placed a Statue of compost in a city park. He used a telephone booth as a compost bin and he filled it with bio garbage. It was possible to observe the individual layers of decomposition through the glass. This natural process appeared to be unsuitable for the city environment, although it was a positive act – recycling of an old telephone booth and the green waste from the park. Another piece of work with an ecological vertone was his performance the Sculpture of Traffic Jam, which he organized in 2009 in Prague in the gateway to the Školská Gallery. He invited several car owners to fill the entry to the courtyard and simulated a real traffic jam including the running of engines. He elaborated a wider social appeal in his project Good Times Are Over (2008). This performance took place at a parking lot in Prague at Pankrác with newly built high-rises and a hypermarket with construction material in the background. A strange little house made from aluminium steam-tight foil was groped along the parking lot. The situation looked like a strange parade with only one mask, which generated many questions and at the same time it was supposed to point out “(...) irreversible processes, which are decided by an immediate need instead of a long-term consideration.” (Jan Fabián, 2008). Part of the video performance was unpretentious humour when the movement of the house was dependant on the movement of a car concealed inside. Jan Fabián processed the exterior visual impulses in his photographic cycles. In his collection of photographs entitled Oversize (2009+) he documented movement of people through public space carrying unproportionally large objects, or in his Folder Without Title (2009) he pursued the capturing of small logical discrepancies that we are surrounded by every day. In his project 81 x 25 dpi (installation for the Czech Centre in London, UK, 2003) he re-evaluated the relationship between the real and the virtual. He blew up a photograph from the Internet so that its dimensions corresponded to reality on the scale of 1:1. He utilizes the results of his long-term observations when he works on interiors. The bright yellow that he used in building a garden gazebo on the inner window frames cannot be perceived as an empty aesthetical element in his case, but as a natural lighting up transfer between the gazebo and the garden, which is based on the colour of spring green leaves. In his sculpting work, he utilizes literal meanings as a certain form of downplaying the renewal of the profession, which was (perhaps still is a little) often revealed in the title – Statue of Traffic Jam (2009), Statue of Gallows (2001), Muscle Armchair (2002), Statue of Compost (2008), etc.
He fluently shifts between visual and applied arts without either part exceeding the other. One of his most liberal projects is probably The Hermitage in Kohoutov (2011), which is a tower like study made from sticks and beams in space. Jan Fabián continuously works in a very discreet way, which makes it that much more enjoyable to gradually discover his individual projects.
Vomacka Josef. Recenze: Dobre uz bylo / a nekdo to vnima. CT24, 20.2. 2009
Vojtechovský Milos, Statistic and Art, Text Gallery Skolska 28 12. 2. 2009
The Year Book of Czech Design, Czech Grand Design 2008 Awards page. 28
New Glass Review 28, Corning Museum of Glass, Published 2007 page. 112
Fabian, Jan. Katedra volneho umeni VSUP, Autorský text Korpus no.3 June/2004 page 24–25
Hlaves, Milan. Fakulta architektury VUT Brno. Atelier 1/2005 page 5, Rec. Vystavy:Jan Fabian–Projekty“ 2.11.–30.11. 2004
Lindaurova, Lenka. Neobvykla vystava: neviditelne objekty v zahrade. Mlada Fronta Dnes 30.10. 2004
Macek, Jiri. Loft Look, Blok no.15, 2006 page 64–67
McGuirk, Justin. Design Sities: Prague. [Rec. vystavy] ICON 12/2004 page 68
Pauly, Jana. Pripraveny prostor, First Art Biennial of the European Students , Atelier 1/2004