Bob Kebic, Available Artwork

#1077
Bob Kebic
Oil on Canvas (24x30 in) 2017
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#1076
Bob Kebic
Oil (30x40 in) 2017
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#1083
Bob Kebic
Oil on Canvas (12x12 in) 2017
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#1079
Bob Kebic
Oil on Canvas (24x30 in) 2017
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#1069
Bob Kebic
Oil on Canvas (24x30 in) 2017
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#1058
Bob Kebic
Oil (48x36 in) 2017
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#1062
Bob Kebic
Oil on Canvas (30x40 in) 2017
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#1061
Bob Kebic
Oil on Canvas (30x40 in) 2017
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#1063
Bob Kebic
Oil on Canvas (24x24 in) 2017
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#1019
Bob Kebic
Oil on Canvas (24x30 in) 2016
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#1018
Bob Kebic
Oil on Canvas (30x40 in) 2016
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#1007
Bob Kebic
Oil on Canvas (24x30 in) 2016
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#844
Bob Kebic
Oil on Canvas (16x20 in) 2014
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#1003
Bob Kebic
Oil on Canvas (24x30 in) 2016
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#999
Bob Kebic
Oil on Canvas (12x16 in) 2016
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#998
Bob Kebic
Oil on Canvas (16x36 in) 2016
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#997
Bob Kebic
Oil on Canvas (24x30 in) 2016
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#996
Bob Kebic
Oil on Canvas (24x36 in) 2016
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#949
Bob Kebic
Oil on Canvas (12x12 in) 2016
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#946
Bob Kebic
Oil on Canvas (20x16 in) 2016
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Bob Kebic

(1951)

Photo of Bob Kebic

Born in Hamilton, Ontario, Bob has demonstrated a passion for drawing and painting from an early age. Following his graduation from the Ontario College of Art in 1974, Bob began his career creating editorial and advertising spreads for noted publications McClelland and Stewart, Saturday Night Magazine, Harlequin Books, and for large corporate clients including Molson, Coke, Nike, Audi Canada, and the Royal Canadian Mint.

During the course of his career, Bob has moved to the United States, living for a time in Texas and Chicago, eventually returning to Canada, making Toronto his home.  Over the last ten years, he spent a considerable amount of time traveling across Canada and France, seeking inspiration for his abstract landscape paintings. Bob’s unique method of imposing a fractured and informal grid to his compositions creates the framework into which he weaves hues that shift and morph with sharp transitions. This technique creates the impression that the landscape is being viewed through a cubist lens.

Bob has chosen not to identify the locations of his subjects within his titles, choosing instead to identify his works numerically. In this way, he hopes the viewer will interpret his work through the lens of their own experience.

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