Down the rabbit hole

It all began when I was 16. I dived into art. At 18, I began my formal education, 12 years of intense study, until I got My Ph.D. in Art. I have studied painting, sculpture, and visual language. I have researched all kinds of art fields: painting, sculpture, photography, ambient installation, performance, video, internet art … every media possible.

Diary of my diaries

On 9 October 1985, I started writing the diary. I wrote about things important to me at that moment: thoughts, dreams, events, and plans. Two years ago, I burned them all.

On July 10, 1997, I started drawing the Diary in ink. I was drawing it at events of great significance to me, trying to capture the state of my body and my mind.

15 Jan. -13 Feb. 1998 Letters to my professor – 28 letters (each day one letter) to Jože Barši, my professor at the Academy. I have copied my old letters, extracts from diaries, quotations.

16th of April 1998 One month diary, collage, Diary of some love – One sheet a day.

19 June 198I I started with a photo diary Good morning Kiki. I took a snap every morning. I did it by chance (snapshots), but at the same time, I was writing an exact diary of photographing: date, time and place, exposure and blend.

13 April 2001 Relationships, the diary of relationships with nine men. They made one photo of me per year. Photo-game.

23 Oct. till 23 Nov. 2001 Morning, a one-month simultaneous diary with a poet Andraž Polič.

13 April 2003 Relationships, The diary of relationships with nine women. They made one photo of me per year. Photo-game.

My first major project was Diaries … a conceptual project dealing with time.

I was doing this to satisfy my desire to explore time. Since the diary is recording the changes in time, it proves to be just perfect for this type of obsession of mine. The diaries seize the changes from one-time frame to the other, from one point in time to the other. And they are a bit disarranged, these points in time, seeing them through the eyes of distortion of time and space. Precisely this gives them a special value; for the closer they are to death, the closer they are to eternity.

Or, as Roland Barthes says, by photographing, we enter a shallow death. Every file is a witness to an event, it can not be reproduced, it is a part of the past and it is a •memento mori“.

At the same time

I have created many other projects: ambient installation Memory in time 1,2,3; paintings Puruša; artist book Goodnight stories; internet project En face Profile Ass; paintings Kundabufer; video and performance Story.

In 2004, became a professor assistant at Academy of Design in Ljubljana 2010 and started to lecture at many Universities. I have done mostly illustrations and interior design and just didn’t have time to play in the field of art as much as before.

Kundabufer, 32 cm x 32 cm, acrylic on wood
Kundabufer, 32 cm x 32 cm, acrylic on wood

Exploring the movments and gestures

 An act of exploring physical movement through the spiritual comes from one’s inner self. It is based on the fact that every single person moves in a unique and unrepeatable way. Paintings made while dancing are a picture of inner energy placed on the canvas.

Dance transcends the boundaries of material perception because it is related to energy and tasting the music. Complete surrender to the energy created by music, when it is rendered impossible to distinguish where the music stops and the dancing begins. It is an imitation of life – the perpetual interaction between energy and matter. It is a passion that becomes alight when we start to burn like the flame of life.

To become one with movement. The experience and sensation of creating deepen. One can ascend to a higher level of consciousness of their bodies and expression through dancing that transcends the confines of concepts, ideas and the current state of mind, but is, owing to its primality and energy power, closest to the kind of dancing that derives from the beginnings of human creativity when dancing constituted one of the basic manners of transferring important pieces of information that could not be conveyed verbally. They could, however, be conveyed through dancing, painting. It is precisely this feature that brings formlæssence the closest to the expression through symbols and painting as a primary form of information transfer.

The story that is thus being made is not a story that comes from the mind, but from beyond it. From a conscious reality, free of mental blockages and prejudice. Painting is no longer subjective and subjected to one thousand interpretations. The dance is objective, primal, and the dancers always convey the same message – the essence of life.

Back to the roots ... renaissance

I just have to paint. It is my ultimate love and I find myself painting no matter what I do. So I started to study painting again. I have started with Mona Lisa as the ultimate painting and then found out the principles of Renaissance connections with math, music, philosophy, but most important of all; with the arabic art world.

First, I have immersed myself in the sfumato technique, researching about Leonardo da Vinci and his way of painting.

I have made the contemporary Mona Lisa in 2013.

Contemporary Mona Lisa

Exploring the darknes

After that came a serial of paintings named Black book, inspired by old Sufi stories.

I had created a serial of paintings about the human search for purpose in life. It all began with an old Persian story written by Nizami Ganjavi from 1197, “Haft Paykar”. Nizami wrote a perfect literary expression of the scheme of the Seven Colors. 

Portrets and roses

 I searched for the technique that would change my way of painting until I perfected it and called it “painting with light.

I wanted to understand the visual language, visual elements, the rules of language and the meaning of numbers, geometry and colours in the story I want to tell, the feeling I want to get.

I did a lot of experiments to understand how it all works.