Samostojna razstava Logaritmi ekspresije združuje slikarska dela iz umetnikovih serij Podtaknjenci, Navzkrižja dilem in Nebeške črvine, katerih dela odlikuje enoten vizualni koncept dinamične igre računalniško koncipiranih vzorcev v kombinaciji s strupenimi fluorescentnimi barvami. Hipnotični učinek krepijo oblikovanje v programu za 3D-animacijo in izvirni tehnični postopki, računalniško dopolnjene ideje pa so nato v tehniki olja precizno preslikane na slikarsko platno. Umetnikova neomajna vnema po tehničnem razvijanju in vizualnem izpopolnjevanju je povzročila nastanek najnovejše serije v obliki manjših formatov, imenovane Nebeške črvine. Serija se od prejšnjih del razlikuje v uporabljeni tehniki, saj je Kobal zaradi želje po še izrazitejšem prikazu detajlov in močnejšem vizualnem učinku, svoje spretne slikarske poteze nadomestil z uporabo tehnike računalniške monotipije na platno. Avtorjeva unikatna tehnika potencira hipnotično valovanje mrežastih struktur v ozadju, ki jih kontrastno prekinjajo puhasti renesančni oblaki. Nebeške gmote oblakov v tej seriji, kakor tudi v prejšnjih, s svojo mehkobo umirjajo in harmonizirajo sicer močno ekspresivna dela. Razstavljena dela lahko razumemo tudi kot zrcalo družbi, saj se dotikajo aktualnih politično-socioloških problematik. Srh vzbujajoči triptih Triglavski kiklopi, na primer, pretresa vprašanja svobode, demokratičnosti in zasebnosti slehernika v današnji družbi. Mitsko bitje Uroboros, kača, ki jé svoj rep, reflektira ujetost družbe v lastne ponavljajoče se vzorce, hkrati pa govori o konstantni ciklični naravi življenja, v kateri smrti vedno sledi ponovno rojstvo. Takšen preplet nasprotujočih si polov, tako vizualnih, kakor vsebinskih, je v umetnikovih delih vseskozi prisoten. Problematika tehnologije in virtualne resničnosti, ki prodira v človekov naravni prostor, je še izraziteje nagovorjena v najnovejši seriji, kjer nebo nadomešča računalniška matrika, izkustvo prave narave pa ostaja zgolj v bežnih oblakih lebdečih znotraj paralelnega sveta. Serija Nebeške črvine po eni strani preizprašuje vseprisotnost virtualnega, hkrati pa umetniku omogoča razvijanje nove likovne prakse in prostega eksperimentiranja.Kuratorici: Pia Miklič in Maša ŽekšThe solo exhibition Logarithms of Expression brings together paintings from the artist's series The Planted, Dilemmas Crisscrossed and Wormholes of Heaven. These works are characterised by a unified visual concept of a dynamic play of computer-conceived patterns in combination with toxic fluorescent colours. The hypnotic effect is enhanced by 3D animation software and original technical processes, while the computerised ideas are then precisely mapped in oil onto the canvas. The artist's unwavering zeal for technical development and visual refinement has led to the creation of his latest series in the form of smaller formats, called Wormholes of Heaven. This series differs from his previous works in the technique used, as Kobal, in his desire to show even more detail and create a stronger visual impact, has replaced his deft painterly strokes with the use of computer monotype on canvas. The artist's unique technique potentiates the hypnotic ripples of grid-like structures in the background, which are contrastingly interrupted by fluffy Renaissance clouds. As the previous ones, the celestial cloud masses in this series use their softness to calm and harmonise the otherwise highly expressive works.The works on display can also be seen as a mirror of society, as they address current political and sociological issues. For example, the chilling triptych, Cyclops of Triglav, addresses the issues of freedom, democracy and privacy of the individual in today's society. The mythical creature Uroboros, the snake that eats its own tail, reflects on society's entrapment in its own repetitive patterns, while at the same time speaking of the constant cyclical nature of life, in which death is always followed by rebirth. Such an interplay of opposing poles, both visual and substantive, is ever-present in the artist's work. The issue of technology and virtual reality penetrating man's natural space is addressed even more explicitly in the latest series, where the sky is replaced by a computer matrix and the experience of true nature remains only in fleeting clouds floating within a parallel world. On the one hand, the Wormholes of Heaven series questions the omnipresence of the virtual, allowing the artist to develop a new artistic practice and free experimentation.Pia Miklič in Maša Žekš, curators