... this endless uncertainty
The paintings were created in the creatively tense environment of painting workshops, they are of recent date and were created in the last year or two. Adult individuals find space in weekly painting workshops. Some have been attending workshops for years, and some have only joined in the last year. Those whose painting creation is wandering, wandering, wandering, vandalism or pilgrimage remain faithful to painting workshops. Goethe wrote in the meek Xenia I Article 1 that whoever possesses science and art also possesses religion. Next to it is the awareness of the Triplicity of painting, that painting is a cross-section of spirit, hand and heart. All pervading is the idea that the only true purpose of creation is to discover the new and the unknown. And with that a lot of joy. That's all. In the meantime, we imagine that we wander the stars, that we exchange dialogues with ourselves and with that beyond, with the metaphysical, that we seduce, enchant or communicate with images …
The paintings are exhibited by adult amateur painters, of different ages and profiles, but with at least one common feature ... if in the most solitary hour the answer to the question whether I want to paint is yes, in life we find a place for this doing. With humble honesty, we undertake the search not for the general but for the particular. We become sharp and accurate observers of the world, outside and inside. The creation of painting, the patient learning of the rules of painting and the humble acquisition of painting skills is a symbolic ascent, it is the e / Celsior (always to the height) of the man who aspires from the earth to the sky, to the unknown. Watching the sky and diving into the unknown is grace and great weight, a curse.
Each painting is a trace of some meeting – the creator man, the painting material and the moment. Everything that happened in the painting during the creation was necessary for the exhibited painting to be as it is. The exhibition is not thematic, not selected and not conceptual, but a collection of images, it is like a map of different inner worlds, different capabilities.
In the past year, we flirted with the Renaissance ideal of sprezzatura from afar. Renaissance ideal sprezzatura denotes the apparent lightness or ease of expression, which conceals prolonged training, technical perfection and thoughtful artistic effort. It manifests itself in the apparent lightness of execution, which obscures diligent training, technical perfection and thoughtful composition . Sprezzatura denotes an apparent nonchalance, behind which lies a humbly acquired skill and a masterful mastery of artistic expression.
Here and there we have succeeded; a nonchalant gesture, an image that surprised its creator first, an image that is pervaded by a sound ... for images it is considered that they do not need words, the image surprises, sings, is imprinted on the viewer or not …
The creators of the paintings reached for the stars, each on its own scale.
Natalia Sheruga Golob
The mentor of the painting workshops is mag. Natalija Sheruga Golob, an academic painter who has been leading painting workshops for 26 long years. "The teacher is rude" is written on one of the paintings produced in the painting workshops ..., the teacher laughs ... and the only possible way for her is to inexorably force herself and individuals beyond her own limits.
1 Sigmund Freud, discomfort in culture, G 6001, Ljubljana, st. 22.
More on the links: www.tecaj-slikanja.si and www.natalijaseruga.si
They exhibit:
Nevenka Andrejasic, Masha Chelebi / <url>, Jasna Dominko Baloh, Lucija Fers, Petra Fuks, Nada Furlan, Dasa Grajfoner, Vesna Hojnik, Tadeja Huzjan, Sara Jagodic, Minea Jevsek, Mojca Kavnik, Metka Kobolt, Zdravko Kocjancic, Nena Kotnik, Ela Krusec, Kristina Tinca Hazelnut, Franci Majcen, Ema Maver, Nada Najdenik, Mateja Ogorevc, Francka Pegan, Marija Podhostnik, Marta Rep, Urska Fisherman Strmecki, Natasha Sirk, Tadeja Sheruga, Majda Sheruga, Bernarda Skrabar Damnjanovi/, Andreja Shtok, Alenka Ushen, Anica Zafred, Olga Zorench, Sabina Zhaja, Ivana Zholger.
… ta neskončna negotovost
Slike so nastajale v ustvarjalno napetem okolju slikarskih delavnic, so novejšega datuma in nastale so v zadnjem letu ali dveh. V tedenskih slikarskih delavnicah najdejo prostor odrasli posamezniki. Nekateri že leta obiskujejo delavnice, nekateri pa so se pridružili šele v zadnjem letu. Slikarskim delavnicam ostajajo zvesti tisti, katerih slikarsko ustvarjanje je potepanje, pohajkovanje, klatenje, vandranje ali romanje. Goethe je v Krotkih ksenijah IX 1 zapisal, da kdor poseduje znanost in umetnost, ta ima tudi religijo. Zraven je zavedanje o trojnosti slikarstva, da je slikarstvo presek duha, roke in srca. Vse prežemajoča je misel, da je edini pravi namen ustvarjanja odkrivanje novega in neznanega. In ob tem veliko veselja. To je vse. Vmes si domišljamo, da klatimo zvezde, da izmenjujemo dialoge sami s seboj in s tistim preko, z metafizičnim, da s slikami zapeljujemo, očaramo ali sporočamo …
Slikarska dela razstavljajo odrasli ljubiteljski slikarji, različnih starosti in profilov, a z vsaj eno skupno lastnostjo …, če je v najbolj samotni uri odgovor na vprašanje ali želim slikati pritrdilen, v življenju najdemo prostor temu početju. S ponižno odkritosrčnostjo se lotevamo iskanja ne splošnega temveč posebnega. Postajamo ostri in natančni opazovalci sveta, zunaj in znotraj. Slikarsko ustvarjanje, potrpežljivo učenje slikarskih pravil in ponižno pridobivanje slikarskih veščin je simbolno vzpenjanje, je excelsior (vselej k višku) človeka, ki stremi od zemlje k nebu, k neznanemu. Opazovanje neba in potapljanje v neznano je milost in velika teža, prekletstvo.
Vsaka slika je sled nekega srečanja – človeka ustvarjalca, slikarskega materiala in trenutka. Vse kar se je na sliki med ustvarjenjem dogajalo je bilo potrebno, da je razstavljena slika takšna kot je. Razstava ni tematska, ne selekcionirana in ne konceptualna, ampak je zbirka podob, je kot zemljevid različnih notranjih svetov, različnih zmožnosti.
V preteklem letu smo se od daleč spogledovali z renesančnim idealom sprezzatura. Renesančni ideal sprezzatura označuje navidezno lahkotnost oziroma neprisiljenost izraza, ki prikriva dolgotrajno urjenje, tehnično dovršenost in premišljen umetniški napor. Kaže se v navidezni lahkotnosti izvedbe, ki zakriva marljivo urjenje, tehnično dovršenost in premišljeno kompozicijo . Sprezzatura označuje navidezno nonšalanco, za katero se skriva ponižno pridobljena veščina in mojstrsko obvladovanje umetniškega izraza.
Tu in tam nam je uspelo; nonšalantna poteza, podoba, ki je presenetila najprej njenega ustvarjalca, podoba, ki jo preveva nek zven … Za slike velja da ne potrebujejo besed, slika preseneti, zapoje, se vtisne v gledalca ali pač ne …
Ustvarjalci slik so segali po zvezdah, vsak na svoji lestvici.
Natalija Šeruga Golob
Mentorica slikarskih delavnic je mag. Natalija Šeruga Golob , akademska slikarska, ki ob svojem slikarskem delu vodi slikarske delavnice že dolgih 26 let. » Učiteljica je nesramna « pa je napisano na eni izmed slik nastalih v slikarskih delavnicah …, učiteljica se smeji … in edina možna pot zanjo je, da neizprosno sili sebe ter posameznike preko lastnih meja.
1 Sigmund Freud, Nelagodje v kulturi , Gyrus, Ljubljana 2001, st. 22.
Več na povezavah: www.tecaj-slikanja.si in www.natalijaseruga.si
Razstavljajo:
Nevenka Andrejašič, Maša Čelebić, Jasna Dominko Baloh, Lucija Ferš, Petra Fuks, Nada Furlan, Daša Grajfoner, Vesna Hojnik, Tadeja Huzjan, Sara Jagodic, Minea Jevšek, Mojca Kavnik, Metka Kobolt, Zdravko Kocjančič, Nena Kotnik, Ela Krušec, Kristina Tinca Lešnik, Franci Majcen, Ema Maver, Nada Najdenik, Mateja Ogorevc, Francka Pegan, Marija Podhostnik, Marta Rep, Urška Ribič Strmečki, Nataša Sirk, Tadeja Šeruga, Majda Šeruga, Bernarda Škrabar Damnjanović, Andreja Štok, Alenka Ušen, Anica Zafred, Olga Zorenč, Sabina Žaja, Ivana Žolger.