Executed in the 1960s.
Milos Urbásek was one of the first Slovak artists to focus on geometrical abstraction. He developed an original technique with layered collage and created unique pieces through muchlage. As Jiri Valoch remarked: ‘Urbásek’s affinity with the urban environment, with the nature of urban communication, was revised first in the collages made from fragments of found posters (from 1963), which comprise one form of his hallmark structures. Over time his theme became the letter: isolated graphemes reflecting the world of urban communication, but taken more and more out of their context and presented as an individual theme of the painting, drawing or print. ‘Liberated letters’ presented as an autonomous communicative quality either in the form of asemantic jumble (for example, in the stamp drawings), or enlarged, monumental, isolated, and discovered as a new aesthetic message reflecting the world of linguistic communication - a world which, however, it irrevocably transcends.’
His purely non-objective, non-representational art was at that time totally unacceptable to the state institutions. In 1969 Urbásek received an invitation by the Ford Foundation for a six-months sabbatical in the USA, but was prevented from accepting it by the Czechoslovak authorities.