Lučka Šparovec. APEIRON IMPULSIVE STROKES

APEIRON

Kosova gra{~ina Jesenice9. maj–14. junij 2013

Gornjesavski muzej Jesenice, 2013

Lu~ka [parovecAPEIRON IMPLUZIVNE POTEZEZelo preprosto, varljivo preprosto!

Likovni zapis v akvarelu je eden izmed najintimnej{ih zapisov zamisli in idej umetnika, ki ima v sebi dovolj gradiva, nezamenljivih podob, razmi{ljanj in videnj, da s ~opi~em pokrije papir tudi velikega formata. Tega se zaveda tudi mlada slikarka Lu~ka {parovec, ki strmi s svojo vitalnostjo in željo po ustvarjanju k neprekinjenemu potrjevanju in dokazovanju likovnega poslanstva in osebnega izraza. Umetnica se v svojem likovnem delovanju giblje na meji med predmetnim in nepre-dmetnim ustvarjanjem, ki v svojih slikovitih z barvo utripajo~ih celo-tah izrazno sugerira na podobe krajine. Slikarka se pri tem nikoli ne odpove strogo osebnemu pogledu, ki je za vse dovzeten, a samosvoj.

Vsaka slika u~inkuje kot samostojno zasnovan unikat, ki nosi naboj en-ergije in ekspresivnosti. Avtorica izhaja iz narave, ne toliko stvarne kot bolj izmi{ljene liri~ne podobe sveta, ki ga dosega s slikarskimi sredstvi ter z upo{tevanjem materialnosti podlage. Njeni akvareli izražajo vtis neomejenega prostora, ki ga u~inkovito podpira klasi~na kompozicija, tradicionalno kompozicijsko jedro z medsebojno umerjenimi odnosi. Motiv krajine je vsakomur dojemljiva bližnjica za branje likovnega dela na prvi neposredni stopnji ~ustvovanja. Zdi se, kot da slikarko zanima prikazovanje posameznih ~asovnih izsekov iz narave. S tem avtorica prikaže naravo kot živ organizem, v katerem ni ni~ stalnega, vse se spreminja, staro i{~e sožitje z novim. Njeno sporo~ilo o prihaja-nju vsega ni lahko dojemljivo, se je pa vredno zanj potruditi. Krajina je v tem primeru kraj oziroma milje, kakor ga vidijo in se ga spominjajo pisci, slikarji, fotografi in kakor je izražen v njihovih umetninah. Je torej vsebina umetnikovega pogleda z dolo~enega o~i{~a v dolo~enem ~asu oziroma vizualna in neizvedljivo subjektivna apropriacija pokrajine oziroma prostora. Nekatere oblike so naslikane tako, kot da bi rasle ali razpadale pred na{imi o~mi. Na slikah nam niza lahkotne oblike, ki rastejo in se dvigajo v vi{ino kot bilke na majskem travniku. Trdna, {e vedno prisotna tradicionalna zasnova krajine se tako razpr{i v skupek nemirnih, na trenutke tudi transparentnih barvnih del~kov, ki se poi-gravajo, migetajo na slikarski povr{ini. Logi~ni del likovne celote so tudi slu~ajno nastale likovne oblike, kot sta naklju~no razlivanje barve po listu papirja in njihovo me{anje. Z uporabo navedenih likovnih sredstev ji uspeva spregovoriti o stra{ni resnici, da je vsak korak naprej k novemu, osvobajajo~emu, smiselnej{emu, vrednej{emu najve~krat sprva nerazumljen, težak, brezupen. Tak{no razumevanje deluje kot pok, ki terja odmev v opazoval~evi du{evnosti.

Njeno iskanje {e neodkritih izraznih možnosti akvarela izdaja razis-kovalno strast in veselje nad raznolikostjo iz istega motiva in enakih

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elementov zgrajenih likovnih sporo~il. ^eprav delujejo Lu~kine slike kot delo spontanega navdiha in mojstrske igre, so precizno izdelane in skrbno oblikovane, kar dodaja spro{~eni domiselnosti trdno racionalno podlago.

Barvna lestvica je mo~no zožana, najve~krat na kontrastni u~inek dveh ali treh barvnih enot. Zato je ekspresivnost podob bolj neposredna, ker deluje na percepcijo gledalca z osnovnimi likovnimi sestavinami brez nepotrebnih razlag. Akvareli so tako ubrani na prevladujo~o monok-romnost predvsem hladnih barv. Z nežno, a odlo~no potezo vrisuje na papir barvne lise in linije, s katerimi zapisuje svoje nove krajine, v kat-erih se zrcalijo avtori~ine energetske silnice. V tem valovanju, ritmu razberemo ustvarjalkin nemirni, impulzivni, a tanko~utni karakter. V njenem slikanju se sre~ujemo dobesedno z akcijskim slikarstvom, saj avtorica položi slikarsko povr{ino – papir na tla in nato v ustvarjalnem ritmiziranem zanosu nana{a barvo, ki ne dopu{~a nobenega popravl-janja. Pri tem gre za stopnjevano ekspresijo, pri kateri se {e vedno ~uti zadrževanje spontanosti in vklju~evanje kontrolirane geste kot formal-nega kompozicijskega elementa. Slikarka po vzoru ta{izma - moder-ne slikarske struje - v samostojnosti barvne lise oziroma pomensko izbranega tona in intenzivnosti vidi dovolj mo~an izziv belini prazne papirnate ploskve. Barvni toni tako postanejo samostojni nosilci ideje sporo~ila, ki enakovredno odražajo razpoloženje, razmi{ljanje in filo-zofijo avtorice v odnosu do {e vedno klasi~ne slikarsko zasnovane kompozicije. Dinami~ni zna~aj likovnega sveta {parov~eva podkrepi z izborom barvne skale, ki jo v~asih stopnjuje z ohranjanjem posameznih belih to~k papirja. Z razkrivanjem materialne osnove slike (papirnate podlage) vna{a slikarka v podobe liri~nega razpoloženja dolo~eno mero napetosti in dramati~nosti.

[parov~eva ne vdihuje dostojanstva kompletnega in u~inkovitega likovnega izrazila samo velikim, ampak tudi majhnim slikarskim for-matom. Akvarelne miniature si ni zamislila kot skice, priprave za pre-nos na slikarsko veliko ploskev, temve~ kot v sebi zaokroženo likovno delo, tako po svojem oblikovnem kot izpovednem zna~aju. {parov~evi pri gradnji intimnega prostora akvarelnih miniatur predstavlja prvo izhodi{~e kompozicija, ki integrira avtori~ino oko v odnosu do slikar-ske povr{ine. Umetnica mora pri tem na majhni podlagi zasnovati svojo oblikovno in vsebinsko idejo, ki se najve~krat udejanji v strnjeni kompozicijski zasnovi in gostem vrtincu likovnih sestavin, ki nas silijo k dolgotrajnej{emu opazovanju in raz~lenjevanju njenega formata in idejnega organizma. Slikarka se tudi pri miniaturah predstavlja kot mojstrica impulzivne poteze ~opi~a in barve, ki je z inspiracijo vedno povezana z naravo in izpolnjena z njenimi spodbudami.

Srž njenega zadnjega ustvarjalnega obdobja so torej akvareli malega in velikega formata, ki ni odlo~ujo~ pri presoji kvalitete, vendar v prim-eru Lu~ke {parovec jasno dokazuje ustvarjalkino velikopoteznost, dinami~nost, spro{~enost, mladostno željo po uveljavljanju in najdenju svojega prostora pod umetnostnim soncem. Poleg pogumno zastavljen-ega umetnostnega programa oziroma vizije odlikuje njena dela tudi ve-

Ar1/1Me{ana tehnika na papir(Mixed Media on paper)

86 x 116.5 cm, 2013.

lika iskrenost, iz katere dobesedno razberemo ustvarjalko tak{no kot je, kot ~uti, brez stranskih misli, zadržkov ali popravkov z ozirom na pub-liko. Vidni svet narave, njeni pojavi, strukture, barvna razpoloženja in razgibani elementi so zanjo dovolj vzpodbudni slikarski gradniki, da odkrito brska po njih, jih razpoznava, sprejema in upodablja. S profe-sionalno delovno disciplino, natan~nim in vztrajnim iskanjem notranje koherence posameznih form in barv ter strogim izogibanjem povr{ni dopadljivosti je Lu~ka {parovec izoblikovala prepoznaven likovni ro-kopis, ki ga opredeljuje sinteza vsebine in barve.

Aljaž Poga~nik

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Lu~ka [parovecAPEIRON IMPULSIVE STROKESVery simple, deceptively simple!

One of the artist’s most intimate expressions of thoughts and ideas is the watercolour technique. It holds enough material, non-exchangeable images, reflections and visions for the brush to cover a large-sized pa-per. A young artist, Lu~ka {parovec, is aware of this fact. With her vital-ity and desire for creation she strives after a continuous confirmation and demonstration of her artistic mission and personal expression. In her works the artist walks a fine line between concrete and abstract creation which, through its picturesque, colour-pulsating entities, sug-gests images of landscape. However, the painter never gives up her personal view which is susceptible to all but still remains original.

Every painting acts as an independently planned original, full of en-ergy and expressiveness. The author finds inspiration in nature – not so much in its material part but in the imaginary lyrical images of the world. She creates the latter by choice of painting means and with re-gard to the material. Her watercolours create an impression of infinite space effectively supported by the classical composition – a traditional compositional core with reciprocal relations. The motif of landscape is a layman’s shortcut to reading a work of art on the first, immediate level of perceiving. It seems the painter is interested in showing us in-dividual time frames taken from nature. With this, the author presents nature as a living creature in which nothing is permanent; everything changes; the old is seeking symbiosis with the new. Her message about everything coming is not easy to grasp, but is worth trying to. In this case, the landscape is a place or a milieu seen and remembered by writ-ers, painters, photographers and expressed in their works of art. It is the content of the artist’s point of view at a certain point in time; a vi-sual and unattainably subjective appropriation of landscape or space. Some images are painted as to be growing or falling apart right in front of our eyes. Her paintings are threaded with gentle shapes which grow and rise up like blades of grass in the meadows of May. Firm and still present traditional landscape scheme is dispersed into a bunch of rest-less, at times also transparent coloured pieces which play and twinkle on the painting surface. A logical part of this artistic entity are also ran-dom artistic forms such as coincidental spilling and mixing of colours across the surface. By using the afore mentioned artistic means she manages to convey the terrible truth: every step leading towards some-thing new, liberating, more meaningful and valuable is many a time initially beyond comprehension, hard and hopeless. Such understand-ing functions as an explosion claiming an echo in the observer’s mind.

Her search of undiscovered ways of expressing through watercolour

gives away passion for exploring and enthusiasm for diverse artistic messages comprising of the same motif and identical elements. Al-though Lu~ka’s paintings act as works of spontaneous inspiration and masterly play, they are made accurately and designed carefully which adds firm rational basis to her relaxed imagination.

The colour spectrum is taken down to a minimum, in most cases to a contrastive effect of two or three colours. Therefore the expressiveness of the images is far more direct, acting on the viewer’s perception with elementary artistic components and without further ado. The waterco-lours are thus tuned to the prevalent monochrome of dull colours. With gentle but firm stroke she draws the colour spots and lines into paper. She notes down new landscapes mirroring her lines of energy. In this undulation and rhythm we make out the creator’s restless, impulsive and yet sensitive character. Her works represent action painting: the author puts the paper on the floor and applies the colour in a creative rhythmic zeal which does not allow any corrections. This is a gradual expression where one can sense the withheld spontaneity and incorpo-ration of controlled gestures as the formal compositional element. With an independent colour spot or the semantically chosen colour shade and intensity, the painter – on the model of Tachism, a modern paint-ing movement – sets a strong enough challenge for the empty paper surface. The colour shades thus become independent carriers of the idea and equally reflect the author’s mood, thinking and philosophy in relation to the still classically conceived composition. The dynam-ic character of [parovec art world is substantiated by the selection of colour scale which is sometimes intensified by preserving individual white areas of paper. By revealing the work’s basic material the painter brings a certain amount of tension and drama into the lyrical imagery.

[parovec inspires dignity of a complete and effective artistic expression not only on large but also small formats. The watercolour miniatures are not conceived as sketches or preparings for transference to a larger format. They are a closed series of art works, formatively and declara-tively. When constructing an intimate space of watercolour miniatures, [parovec starting point is the composition which integrates her view in relation to the painting surface. The artist plans her idea’s form and content on a small surface. The idea usually comes to life as a serried compositional scheme and compact whirl of artistic components which forces us to a lasting observation and analysis of her format and ideal organism. The miniatures again prove the painter’s mastery of impul-sive brush and colour stroke which, in its inspiration, is always con-nected to nature and fulfilled with its spurs.

The core of her final creative period are watercolours of large and small format. The size does not define the quality of a work but clearly proves Lu~ka [parovec daring, dynamic and relaxed manner of creating. Her works reflect the youthful desire for enforcing herself and finding her own place under the artistic sun. Apart from her boldly set artistic pro-gramme and vision, her works excel in great sincerity. She presents herself the way she is and feels, without any side-thoughts, hindrances

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or corrections with regard to the audience. The visible world of nature, its phenomena, structures, colour moods and stirred up elements are stimulative enough painting components for her to openly rummage amongst them, recognize, accept and represent them. With working discipline of a professional, an accurate and persisting search for inner coherence of individual forms and colours, and strict evasion of super-ficial liking Lu~ka [parovec has shaped a recognizable artistic signa-ture defined by synthesis of content and colour.

Aljaž Poga~nik

a3/1Akvarel na papir(Watercolour on paper)13.5 x 19.7 cm, 2013.

a2/1Akvarel na papir

(Watercolour on paper)13.5 x 19.7 cm, 2013.



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A5/1Akvarel na papir(Watercolour on paper)47 x 147.5 cm, 2013.

A4/1Akvarel na papir(Watercolour on paper)86 x 147 cm, 2013.

A7/1Akvarel na papir

(Watercolour on paper)70 x 100 cm, 2013.



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a1/1Akvarel na papir(Watercolour on paper)10.4 x 14.7 cm, 2013.



A8/1Akvarel na papir, detajl

(Watercolour on paper, detail)70 x 100 cm, 2013.

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A1/1Akvarel na papir(Watercolour on paper)178 x 57 cm, 2013.





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Biografija

Lu~ka [parovec, rojena leta 1984 v Kranju, se je po kon~ani osnovni {oli od leta 1999 do 2003 izobraževala na Srednji {oli za oblikovanje in fotografijo v Ljubljani, smer grafi~no oblikovanje. V letih 2005 do 2010 je {tudirala na samostojnem visoko{olskem zavodu {ola za risanje in slikanje v Ljubljani (Arthouse – College of Visual Arts), smer slikarstvo. Teoreti~ni del diplomskega dela je opravljala s podro~ja umetnostne zgodovine pri dr. Tanji Mastnak, univ. dipl. um. zgod., prakti~ni del iz slikarstva pri prof. Darku Slavcu, akad. slik. spec. Z odliko je diplomi-rala z delom Individualisti~na slikarska praksa in njena artikulacija v umetnosti Nove podobe. Leta 2012 je prejela status samostojne kulturne ustvarjalke na Ministrstvu za izobraževanje, znanost, kulturo in {port Republike Slovenije. Je ~lanica ZDSLU, Dru{tva likovnih umetnikov Ljubljana in Likovnega dru{tva Kranj. V ~asu {tudija je prejela Zoisovo {tipendijo za nadarjene {tudente in priznanja ter pohvale za izvirna likovna dela. Udejstvuje se na pedago{ko-andrago{kem podro~ju, v okviru katerega vodi likovne delavnice ter te~aje za odrasle in otroke. Razstavlja samostojno in skupinsko, tako doma kot v tujini. Svoja za-nimanja v teoreti~nem in prakti~nem kontekstu usmerja v raziskovanje sodobne vizualne umetnosti in kulture. Zavezana likovnosti kot diplo-mirana slikarka tvorno prispeva k oblikovanju slovenskega in mednar-odnega kulturnega prostora.

Priznanja

Zoisova {tipendija za nadarjene {tudente, od leta 2008 do 2011

[tudijsko priznanje za risarska dela v {tudijskem letu 2008/09, mentor doc.mag. Mladen Jernejec, akad.slik.spec.

[tudijsko priznanje za sliko Veliki akt z modrim prstom, 2008, mentor prof. Darko Slavec

[tudijsko priznanje za Uspe{no ateljejsko delo, v {tudijskem letu 2005/06, mentorica mag. Mojca Zlokarnik

Samostojne razstave

2012

Galerija Talasa /Terme Krka, StrunjanGalerija KUD Sveti Sava, KranjGalerija Alga, Izola

2011

Muzej Ob~ine [en~ur, [en~urGalerija Tir, Nova Gorica

2008

Kulturni center Trži~, Trži~

2004

Galerija Atrij Ob~ine Trži~, Trži~Kavarna Mitnica, Kranj

Skupinske razstave

2012

Vll. Mednarodni simpozij umetni{ke keramike, Muzej Ob~ine {en~ur, {en~ur (Slovenija)World Art Print Annual, Mini Print 2012, Lessedra Gallery & Contem-porary Art Projects, Sofia, (Bolgarija)Mednarodni grafi~ni likovni center, Ljubljana (Slovenija)Ministrstvo za obrambo RS, Ljubljana (Slovenija)

2011

2nd Lessedra International Painting & Mixed Media Competition, Lessedra Gallery & Contemporary Art Projects, Sofia, (Bolgarija)

International Mail art Exhibition and Swap, Richmond Art Gallery, Richmond, British Columbia (Kanada)

“Drawing Connections”, International Exhibition, Siena Art Institute, Siena (Italija)

2010

“Vabljeni mladi 2010”, Galerija Media Nox, Maribor (Slovenija)Razstava {tudentov ALUO in V[RS v okviru festivala {tudentske kul-ture, Galerija Sre~i{~e (Hostel Celica), Ljubljana (Slovenija)Ministrstvo za obrambo RS (Poveljstvo sil), Vrhnika (Slovenija)

2009

Skupina S.K.U.P., Galerija Krka, Ljubljana (Slovenija)Turisti~na kmetija Valentan, Vodole, Male~nik, Maribor (Slovenija)Univerza v Ljubljani, deželni dvorec, Ljubljana (Slovenija)“Vabljeni mladi 2009”, Galerija DLUM, Maribor (Slovenija)Ministrstvo za obrambo RS, Ljubljana (Slovenija)

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Razstava {tudentov ALUO in V[RS, otvoritev festivala {tudentske kulture, Hostel Celica in Galerija Sre~i{~e, Ljubljana (Slovenija)

2008

Kavarna S.E.M., Slovenski Etnografski muzej, Ljubljana (Slovenija)

2006-2009

Atelje Arthouse – College of Visual Arts, Ljubljana (Slovenija)

Biography

Lu~ka [parovec was born on 20th July 1984 in Kranj, Slovenia. After finishing primary school, she attended the Secondary School of Design and Photography in Ljubljana (1999-2003), studying graphic design. In years 2005–2010 she studied at an independent college of higher educa-tion, Arthouse – College of Visual Arts in Ljubljana, studying fine arts. She completed the theoretical part of her diploma dissertation in the field of art history, mentored by Dr. Tanja Mastnak (bachelor of art his-tory). The practical part in the field of painting was carried out under the guidance of professor Darko Slavec (bachelor of fine arts, special-ist). She graduated with a diploma dissertation entitled Individualistic Fine Art Practice and its Articulation in the Art of a New Image, passing with distinction. Since 2012, she has a status of an independent cultural artist at the Ministry of Education, Science, Culture and Sport. She is a member of the Union of Slovene Fine Arts Associations (ZDSLU), the Ljubljana Fine Artists Society and the Kranj Artistic Society. During her studies she received the national Zois scholarship for gifted students and awards for remarkable and inventive art works. She is active in the field of education where she holds artistic workshops and courses for children and adults. She exhibits individually and in groups, at home as well as abroad. Her theoretical and practical interests are focused on the research of contemporary visual arts and culture. Obliged to art as a graduate painter, she creatively contributes to forming a Slovene and international cultural space.

Awards

Zois scholarship for gifted students; 2008-2011Study award for the drawings in year 2008/09; mentored by Mladen Jernejec, Master of Fine ArtsStudy award for the painting The Great Nude With a Blue Finger, 2008; mentored by prof. Darko SlavecStudy award for successful studio work in year 2005/06; mentored by Mojca Zlokarnik, Master of Fine Arts

Individual Exhibitions

2012

Spa Strunjan Gallery, Terme Krka, StrunjanCulture and Arts Society Sveti Sava Gallery, KranjAlga Gallery, Izola

2011

[en~ur Municipality Museum, [en~urTir Gallery, Nova Gorica

2008

Trži~ Cultural Centre, Trži~

2004

Trži~ Municipality Atrij Gallery, Trži~Café Mitnica, Kranj

Group Exhibitions

2012

7th International Symposium of Ceramics Arts, [en~ur Municipality Museum, {en~ur (Slovenia)World Art Print Annual, Mini Print 2012, Lessedra Gallery & Contem-porary Art Projects, Sofia (Bulgaria)International Graphics Art Centre Ljubljana (Slovenia)Republic of Slovenia, Ministry of Defence (Slovenia)

2011

2nd Lessedra International Painting & Mixed Media Competition, Lessedra Gallery & Contemporary Art Projects, Sofia, (Bulgaria)International Mail Art Exhibition and Swap, Richmond Art Gallery, Richmond, British Columbia (Canada)“Drawing Connections”, an international exhibition, Siena Art Insti-tute, Siena (Italy)

2010

“Vabljeni mladi 2010”, Media Nox Gallery, Maribor (Slovenia)Exhibition of students of the Academy of Fine Arts and Design and the Arthouse-College of Visual Arts within the Students’ Culture Fes-tival, Sre~i{~e Gallery (Hostel Celica), Ljubljana (Slovenia)Republic of Slovenia, Ministry of Defence (Forces Command), Vrhnika (Slovenia)

XXIII.XXII.

Kolofon

Izdajatelj in založnik Gornjesavski muzej Jesenice, zanj Irena La~en Benedi~i~ Avtor besedila Aljaž Poga~nikLektorica Katja ŽvanOblikovalka kataloga Lu~ka [parovecFotografa Silvo Kokalj, Primo` Koro{ec (fotografija na st. 24)Prevod v angle{ki jezik Barbara MarkeljTisk Tiskarna Uzar d.o.o.Leto 2013

Colophon

Editor and publisher Irena La~en Benedi~i~ for Gornjesavski Museum JeseniceAuthor of the text Aljaž Poga~nikProofread by Katja ŽvanDesign Lu~ka [parovecPhotographers Silvo Kokalj, Primo` Koro{ec (photo on p. 24)Translated by Barbara MarkeljPrint Tiskarna Uzar d.o.o.Year of publication 2013

2009

The S.K.U.P. Group, Krka Gallery, Ljubljana (Slovenia)Tourist farm Valentan, Vodole, Male~nik, Maribor (Slovenia)University of Ljubljana, Provincial Manor, Ljubljana (Slovenia)

“Vabljeni mladi 2009”, DLUM Gallery, Maribor (Slovenia)Republic of Slovenia, Ministry of Defence, Ljubljana (Slovenia)Exhibition of students of the Academy of Fine Arts and Design and the Arthouse-College of Visual Arts; opening of the Students’ Culture Festival, Sre~i{~e Gallery (Hostel Celica), Ljubljana (Slovenia)

2008

S.E.M. Gallery, The Slovene Ethnographic Museum, Ljubljana (Slovenia)

2006−2009

Arthouse – College of Visual Arts studio, Ljubljana (Slovenia)

Lu~ka Šparovecdiplomirana slikarka/graduated paintress

T: +386 40 226 163E: [email protected]

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APEIRON

Lučka Šparovec. APEIRON IMPULSIVE STROKES

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