Memberships in juries:
1. Works of Science
2. Works of Art
In a time when the eye has become the omnipotent sense, ministering to rapid, superficial and aggressive promotion and consumption, and with visual culture as the key tempter within consumer society, the artist is generally left with only two stances that do not yield to the superficial hyperproduction of image. The first has a critical function within the dominant visual discourse, using outwardly similar means, coupled with sharp analysis and precise insight, to both draw on commercial pop culture and to move beyond it. The second response to the flood of "light" images is conditioned by a singular retreat from this visual and semantic chaos produced by virtual reality. In such a world, individuals may, at least to some extent, define the terms of their being, values and creativity. To do so, however, they must inspire their outward sight with an inner insight and inform vision with knowledge. It seems that the latter path, where quality rather than spectacle or the quantity of artistic production is essential, was chosen by Tatjana Capuder. I will try to unveil slightly just a few aspects of the artistic language of her images, being aware that the experience and interpretation of art is best left up to each individual, especially sensitive ones. When I first set eyes on Tatjana's "miniature prints", I was moved by their purely abstract yet primally organic morphology. The bright luminosity of elegant curves, outlined with skilfully modulated contours of shades in all possible grades of greyish black, can immediately take the viewer from the dark, subdued tones of the present into a dream world of light, openness and beauty. There, fine and minuscule patterns and structures from nature, our eternal teacher that the global nomad no longer has time to notice, speak to us with the minimum intervention from the artist in their autonomous vocabulary, their pure artistic language. Once again, this shows that the motif itself is not the only yardstick of a piece of art; more important still is the way in which we view or grasp it – that is, the perspective we chose to view the world from. Consequently, a picture suddenly comes to us not just as an interesting layering of bark; its power of association either transports us among north sea archipelagos or lake landscapes, or invites us into the softly open atriums of future kindergartens or into the organic lines of futuristic green housing developments. In short, we are addressed by minimalistic black-and-white yet also magical imaginary landscapes, which are universal in their narrative, evocative in their inspiration and open in their address. And today, this is the best that art can do to redeem us.
Saša Ostan, architect
»Who saw the chisel that carves breath?« Not the chisel that carves stone or wood. And not even the counterfeit statue of Hermione in Shakespeare's The Winter's Tale.
The chisel that carves breath, that carves life, may perhaps be the best parable for the essence of architecture. The essence of architecture as a ceremonial vessel, in which and whereupon we live our lives, represents both the lives of our predecessors and the lives of our descendants.
This time, Shakespeare's miraculous chisel that carves life touches the plain paper that simultaneously in intuitive, spontaneous and carefully selected gestures comes to life, and fascinates us with a mysterious and inexplicable beauty of that pre-beginning, where conscience and subconscience coalesce.
With minimum cuts, creases, holes or protrusions, structures and textures come into being, and in them are hidden the origins and beginnings of a true world. Perhaps these are the images of those endless, inexplicable, and often fairytale-like landscapes, which are hidden within us.
The artist is transfering the mysterious landscapes suffused with alluring soft light into spaces of reality by using delicate conscious and subconscious touches. The fatality of the first two or three measures is meaningful both in architecture and in mathematical analyses, where is hidden and from which the whole mental structure grows in continuation, from draft to final detail.
And as Shakespeare's chisel carves life, these models carve and extricate landscape images of life, landscapes in which are hidden and from which derive the concrete, actual, real images of our world realised with the assistance of human soul, feeling, experience, thought, will and effort.
Marko Mušic, architect