Untitled, 2019
Pigments, varnish on canvas
138 x 230 cm
Untitled, 2019
Pigments, varnish on canvas
120 x 120 cm
Untitled, 2019
Pigments, varnish on canvas
Ø 125 cm
Untitled, 2019
Pigments, varnish on canvas
60 x 80 cm
Untitled, 2019
Pigments, varnish on canvas
100 x 150 cm
Untitled, 2019
Pigments, varnish on canvas
60 x 80 cm
Untitled, 2019
Pigments, varnish on canvas
60 x 80 cm
Untitled, 2019
Pigments, varnish on canvas
Ø 125 cm
Untitled, 2019
Pigments, varnish on canvas
110 x 160 cm
Untitled, 2016
Pigments, varnish on canvas
100 x 100 cm
Untitled, 2017
Pigments, varnish on canvas
138 x 160 cm
Untitled, 2017
Pigments, varnish on canvas
110 x 160 cm
Untitled, 2016
Pigments, varnish on canvas
130 x 130 cm
Untitled, 2016
Pigments, varnish on canvas
100 x 100 cm
MH701 untitled
Pigments, varnish on canvas
100 x 120 cm
MH702 untitled
Pigments, varnish on canvas
120 x 100 cm
MH703 untitled
Pigments, varnish on canvas
120 x 100 cm
MH705 untitled
Pigments, varnish on canvas
100 x 120 cm
MH704 untitled
Pigments, varnish on canvas
100 x 100 cm
MH706 untitled
Pigments, varnish on canvas
90 x 120 cm
MH707 untitled
Pigments, varnish on canvas
100 x 120 cm
MH708 untitled
Pigments, varnish on canvas
90 x 120 cm
MH709 untitled
Pigments, varnish on canvas
100 x 100 cm
MH711 untitled
Pigments, varnish on canvas
138 x 180 cm
MH714 untitled
Pigments, varnish on canvas
100 x 120 cm
MH719 untitled
Pigments, varnish on canvas
100 x 150 cm
MH718 untitled
Pigments, varnish on canvas
60 x 80 cm
MH712 untitled
Pigments, varnish on canvas
100 cm
MH713 untitled
Pigments, varnish on canvas
100 cm
MH716 untitled
Pigments, varnish on canvas
100 cm
BIOGRAPHIE
Milan Houser is born 1971. His talent was awarded by many prices, including the prestigious Stipendium Pollock-Krasner Foundation in 2005. His Art is showcased at the Prague National Gallery, and many private and confidential Collections in Czech Republic, Italy, Germany and USA.
Milan Houser doesn’t paint in the true sense of the word. He pours coloured masses onto the horizontal canvas, which he divides into specific sections. They are called “chambers”. They do not form a completely accurate border, but the paint rather flows over them. The colors push out and flood in a slow sludge, with a streamy and sticky attraction. It then creates a new life to the painting, arising from the mixture, and the result is a large and non-predestined appearance. The result is a painting without gaps, equally dense and viscous, which gradually gets stuck and condensed, boggled down, into a soft homogeneity. The viewer is confronted with a painting, simultaneously elastic stunningly colourful. He is part of Marciano‘s Galleries artists’ selection.
