Klibansky’s work examines the relationship between a thing and its essence, between what we see and what an image implies. The sense of precarious equilibrium that can be found in his recent paintings and in his sculptures reveals just how sadly dystopian an image can be that, at first glance, appears happily utopian. It thus reveals how utopia and dystopia can coexist within the same image.

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Klibansky ventures into the territory of phenomenology and revisits matters related to perception that have fascinated philosophers and art historians, and have equally captured the attention of artists. In his recent paintings, Klibansky juxtaposes architecture with slices of urban and natural landscapes, the majority of which were photographed by the artist himself during his travels. Butterflies, birds, nymphs and impressionist-esque shimmers are mingled with images projected on giant screens, street signs and sparkling automobiles. Although nothing can reflect reality more effectively than a photograph that was taken to remember a place where one has been, in order to tell the truth Klibansky takes advantage of a lie. 

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