Down the rabbit hole
I have studied painting, sculpture, and illustration.
I have researched in all kinds of art fields: painting, sculpture, photography, ambient installation, performance, video, internet art … every media possible.
My first paintings were 3D and I have named them Pillows. I started it in last year of my study and they were my graduate paintings. I have made my best in a project Purusha.
Diary of my diaries
9 October 1985 I started writing the diary. I was writing things important to me at that moment: thoughts, dreams, events, plans. Two years ago I have burned them all.
10th of July 1997 I started drawing with ink the Diary 10th of July 1997 – I was drawing it at events of big significance to me. I was 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 the first major project were 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 say’s: 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.
Discovering the possibilities of body-painting
Formless painting. 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 an 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.
Back to the roots ... on a grand scale
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.