Tekst | Slike | CV | Text-English

Ozki, podolšni formati papirnatih slik Mojce Zlokarnik visijo v galeriji z visokega stolpičastega stropa na skoraj nevidnih nitih, s čimer ustvarjajo videz lebdečih podob. Avtorica je vzpostavila posebno vznemirljivo okolje krhkih, nešnih objektov, ki delujejo skorajda nesnovno in izmuzljivo, hkrati pa se z lahnim valovanjem lahko odzovejo na vsako naključno gibanje. Njim nasproti so nekatere podobe togo vpete v mrešo, ki je pajčevinasto prepredena po prostoru. Poleg omenjenih objektov iz papirja so v Peterokotnem stolpu razstavljene tudi grafične miniature, ki še posebej zašivijo ob kontrastni grobosti kamnite grajske stene.
Papir, kot nadvse občutljiv in prosojen material, navdušuje umetnico do te mere, da ga ne uporablja zgolj kot podlago za svoje slike ali grafike, ampak ponekod na njegovo še samo po sebi zanimivo reliefnost riše z akrilnimi barvami ali pa tiska v tehniki barvnega linoreza. Mojca Zlokarnik med ustvarjanjem svojih del raziskuje "papirnost" papirja še s tem, ko papir sama ročno izdeluje oziroma ga oblikuje v zaključene celote, ki tako postajajo unikatne samostojne podobe in s tem umetnine. Svoje različne zamisli, na katere vplivajo specifične vrste papirjev, podreja krhkim zakonitostim tega občutljivega materiala, s katerim ustvarja povsem svojstveno govorico papirnatih vlaken. Še posebej zanimiva je sama struktura papirja, ki jo oplemeniti na najrazličnejše načine, na primer s posebnimi najdenimi predmeti. Ponekod pa v osnovno podlago mojstrsko vplete tudi posamezne niti in z njimi metaforično nakaše na tradicionalno pojmovane šenske dejavnosti, kakršne so predenje, tkanje ali šivanje. Tako ustvarjene čudešne vzorce papirnatih tkanin včasih pusti v njihovi izvorni belini, ponekod pa jih obarva v komaj zaznavne barve, ki so prosojne, kakor je prosojen sam papir. Neredko se tudi v izbiri barvnih odtenkov poigrava s spolno zaznamovanimi stereotipi, po katerih so določeni toni prepoznani kot tipično "šenski" odtenki in zato tudi največkrat slabšalno označeni.Namerno uporablja nadvse svetle, ponekod komaj zaznavne barve rumenih, oranšnih, zelenih, roza, vijoličnih in modrih odtenkov, ki se zdijo v svoji transparentnosti prepojeni z nekakšno mlečno belino, ob kateri je še toliko bolj poudarjena vsa papirnata prosojnost. Temu so prilagojeni tudi motivi, ki so večinoma abstraktni, čeprav bi pri nekaterih grafikah med določenimi krajinskimi asociacijami lahko prepoznali tudi posamezne rastlinske elemente.
V zraku skrivnostno lebdeče podobe Mojce Zlokarnik se zdijo zgolj na videz nematerialne in nezemeljske, saj nam v hkratni prisotnosti in navidezni odsotnosti razstirajo neki oddaljen, skoraj sanjski svet, ki je v vsej svoji čarobnosti vendarle lahko nadvse blizek in domač. Prosojne papirnate čipke, ki lahno prhutajo v svojem neslišnem zvoku, ne nagovarjajo zgolj s svojim videzom, čeprav nudijo neizmeren estetski ušitek še v samem pogledu nase, temveč skušajo v gledalcu prebuditi tudi šeljo po nedovoljenem dotiku ali samodejnem gibu, ki bi povzročil, da podobe še bolj vzvalovijo ali zatrepetajo v utripu vse svoje resnične navzočnosti.

Alenka Spacal

The long narrow paintings on paper of Mojca Zlokarnik are suspended from the towering ceiling of the gallery on almost invisible threads, resembling floating images. The artist has created a special, exciting environment inhabited by fragile, evanescent objects that are almost totally immaterial and elusive, while at the same time, moving responsively in gentle waves with each random current of air. Opposite them, there are images rigidly enmeshed in a net that spreads like a cobweb. Apart from these paper objects, the miniature graphic prints that are exhibited in the Pentagonal Tower are brought to life when contrasted with the rough surface of the castle’s stone walls.
Paper, this extremely sensitive and transparent material, has become so dear to the artist that she goes beyond using it only as the foundation for her paintings and graphic prints. She has begun to paint in watercolours on its already interestingly textured surface or has used it for printing colour linocuts. While working, Mojca Zlokarnik explores the “paperness” of paper by manipulating and transforming it into complete wholes that become unique, independent images and works of art. She subordinates her various ideas that are influenced by the specific types of paper to the fragile laws of this sensitive material with which she creates a special language of paper fibres. Particularly interesting is the structure of the paper, which she enriches in various ways, such as with certain found objects. In some cases she masterfully incorporates different threads into the paper, creating a metaphor for traditional feminine activities, such as spinning, weaving or sewing. Sometimes she leaves the miraculous patterns of paper fabrics in their natural whiteness or alternatively colours them in almost imperceptible hues that are as transparent as paper itself. In the selection of colours she often plays with gender-based stereotypes, according to which some shades are believed to be typically “feminine” and therefore somehow inferior. She intentionally uses bright, sometimes almost imperceptible yellow, orange, green, pink, purple and blue nuances that appear to be suffused with a milky white that additionally emphasises the transparency of paper. Motifs are appropriately selectedč they are mostly abstract, although in some graphic prints, vegetal forms can be recognised amidst hints of a landscape.
Mojca Zlokarnik’s mysterious floating images appear to be almost other-worldly, although through their presence and illusion of absence, they offer us a view of some remote, dream-like world that is extremely familiar despite its magic. Transparent paper lace flapping its wings with imperceptible sound does not only involve the viewer through visual appearance, although a simple glance at these works affords the viewer an incredible aesthetic pleasure. It also makes the viewer want to breach the conventional rules and touch them to make them move or tremble with the beat of their true presence.

Alenka Spacal

Rojena je bila leta 1969 v Ljubljani. Leta 1993 je diplomirala na Akademiji za likovno umetnost pri prof. Metki Krašovec, nato pa pod njenim mentorstvom nadaljevala s podiplomskim študijem slikarstva. Leta 1998 je diplomirala tudi na grafični specialki pri prof. Lojzetu Logarju. Študijsko se je izpopolnjevala v Pragi, New Yorku in v Bolgariji. Razstavljala je na številnih samostojnih in skupinskih razstavah v Sloveniji in tujini ter prejela nekaj nagrad za grafično delo, med drugim leta 1998 odkupno nagrado v Estoniji (11th Tallinn Print Triennial) in leta 2000 v Chamaliaresu v Franciji častno priznanje na 5. svetovnem trienalu male grafike. Od leta 2001 je odgovorna urednica Likovnih besed.

She was born in 1969 in Ljubljana. In 1993 she graduated at the Ljubljana Academy of Fine Art in the class of Prof. Metka Krašovec. Under the guidance of her professor, she pursued post-graduate studies in painting. In 1998 she finished her post-graduate studies in graphic art with Prof. Lojze Logar. She pursued further studies in Paris, New York and Bulgaria. She has presented her work at numerous solo and group exhibition in Slovenia and abroad and received several awards for graphic art, including the distinction of having her work acquired in the 11th Tallinn Print Triennial in 1998 and the honorary award of the 5th World Triennial of Small-Scale Graphic Art in 2000 in Chamaliares, France. Since 2001 she has been the editor of Likovne Besede art magazine.