Petar Popijac (1988) conceived the project in such a way that we feel the historical purpose of space in the spiritual sense and also the material permeation of the Constitution of space in the last period, when the oak tree plays an important role as matter. It is precisely the selection of Oak, which is not just ordinary oak wood, but subfossil trunks of oak trees, characteristic grayish color, which have been buried deep in the layers of the Earth for more than a millennium, that multilayered connects the drinker's sense of the timelessness of the former monastery space, where the sensual artist becomes only a re-conductor of energies. It is the choice of material that most defines the current setting of the drinker, and conceptually it is imbued with the idea of heat, as an energy that passes through matter without obstacles and modifies it, which is also characteristic of the sculptural process.
Photo: Tomaz Grdin, GBJ archive
Petar Popijač (1988) je projekt zasnoval tako, da v njem začutimo zgodovinsko namembnost prostora v duhovnem smislu in tudi materialno prežetost konstituiranja prostora v zadnjem obdobju, ko ima pomembno vlogo kot materija prav hrast. Ravno izbor hrasta, ki pa ni le navaden hrastov les, temveč gre za subfosilna debla hrastov, značilne sivkaste barve, ki so bila več kot tisočletje zakopana globoko v plasteh zemlje, večplastno povezuje Popijačevo čutenje brezčasnosti nekdanjega samostanskega prostora, kjer senzualen umetnik postane le ponovni prevodnik energij. Prav izbor materiala je tisto, kar najbolj opredeljuje tokratno Popijačevo postavitev, konceptualno pa je prežet z idejo vročine, kot energijo, ki brez preprek prehaja skozi materijo in jo modificira, kar je značilno tudi za kiparski postopek.
Foto: Tomaž Grdin, arhiv GBJ
