kiparska postavitev na prostem / open-air art installation
Vrt Komenskega 8, Ljubljana, iz cikla Štirje letni časi na Vrtu / Poletje 2006
Garden Komenskega 8, Ljubljana, From cycle Four seasons in the Garden / Summer 2006
17. 6. - 31. 8. 2006

Vokalni večer: Metod Banko, Od ljudskih pesmi do improvizacije
Accompanying vocal music: Metod Banko, From folk songs to improvisation

Tekst/Text | Slike | CV |

Eva Peterson Lenassi je ustvarjalka, ki svojo kiparsko misel že od vsega začetka
razvija v glini. Glina, v vseh možnih različicah, je zanjo več kot zgolj material. Pomeni ji
kompleksen miselni in ustvarjalni koncept. Razume jo kot izjemno čutno materijo z močno
simboliko prvobitnosti narave in življenja. Vse kar lahko ustvari iz nje naredi v simbiozi
z okoljem, zato jo spaja zlasti z naravnimi ambienti.

Že leta 1995 se je lotila projekta postavitve glinenih objektov na obali reke Save. Kasneje je s ciklom Enaindvajseto stoletje ustvarila na desetine keramičnih škorenjcev in z njimi sestavljala talne vzorce. Načelo repeticije je ena od vidnejših formalnih značilnosti njenega dela. Tudi v tokratni postavitvi je uporabila en sam element, ki v osnovi izhaja iz istega projekta. Element glinenega škorenjca je vlila, odtisnila v kalupe, ga na ta način razmnožila in zvarila v nenavadne kovinske hibride valjastih oblik. “Škorenjci”, krožno nameščeni okoli dane osi, učinkujejo kakor bizarni štrceljni in tako spregovorijo popolnoma novo zgodbo o času, človeku in pomenu koraka-simbolu večnega gibanja. Postavljeni na travnata tla učinkujejo kot bi se sprehajali nekje med preteklostjo, sedanjostjo in prihodnostjo. Odvisno od našega zornega kota jim lahko določamo različne pomene. Pogled v podplate je pogled v odhajanje, pogled v njihovce našpičene konice, pogled v prihajanje. Okoli osi so razmeščeni tako, da se nam korak, ki je še pravkar pred nami, že v naslednjem hipu izmuzne v preteklost. Zdi se kot bi se sprehajalo po travnati površini desetine nog, ljudi, korakov, osebnih zgodb. Čeprav v osnovi statična, deluje sleherna skulptura zelo dinamično.

Zaradi ponavljanja enega elementa, znotraj enega samega objekta, dobimo
na različnih točkah našega očišča nekakšen futuristični vtis gibljivega dinamizma skulpture. Sama tak princip imenuje ženski princip, pri katerem gre po njenih besedah za “poseben princip nastajanja monumentalnega dela, ki temelji na nizanju drobnih gibov, drobnih akcij v večje in večje celote”. Bistvo njenih skulptur in projektov je tako skrito v potrpežljivem, preciznem delu, ki na daljši rok rezultira v presenetljivih in kompleksnih rešitvah. Kiparka se pri svojih postavitvah rada osredotoča na površino tal, njihovo strukturo. Stik z njimi ji pomeni primaren stik z zemljo, z glino, z življenjem. Tudi travnik vrta je zato ponovno izkoristila za svoj ustvarjalni poligon, tokrat sicer ne, da bi iz biljk spletala dolge kite. Tudi ne, da bi skoznje sprehodila svoje prste, pač pa da po njem sprehodi korake, neznane, prihajajoče in odhajajoče, da sprehodi čas in z njim tudi naše, enaindvajseto stoletje.

Barbara Sterle Vurnik

Eva Peterson Lenassi is a fine artist who from the very beginning has developed her
sculptural concepts through clay. Clay, in all its possible varieties, she understands as more than simply a material. To her it is a complex, mindful, and creative concept.
She comprehends clay as an exceptionally sensitive material with a powerful symbolism
for the primeval origins of nature and life. Everything that she creates from clay she does
in symbiosis with the surroundings and thus she ensconces her clay pieces in some natural ambiance.

In 1995, Eva undertook a project of placing clay objects along the shore of the Sava
River. Recently, in her series The 21st Century, she created tens and tens of little ceramic
boot-like forms and arranged them into patterns on the ground. The principle of repetition is one of the more noticeable formal characteristics of her work. The arrangement in this exhibition also uses only one element, which is derived from the same series. She formed the clay-boot elements by pressing clay into a mold and reproduced and welded numbers of them into an unusual metallic hybrid of tubular shapes. The boot-like objects placed in a circular manner around an axis create an effect of bizarre stumps and in this way speak of an entirely new story of time, man, and the significance of a step—a symbol of eternal motion. Placed on the grassy ground, they appear to be ambling somewhere between the past, present, and future. Depending on our point of view, we can discover various meanings. A look at the sole is a look at departure, a look at their pointed tips, a look at arrival. They are located around the axis such that the step that is just now in front of us is in the next instant slipping into the past. One gets the impression that walking around the grassy surface are scores of feet, people, steps, personal stories. Although basically static, each of her sculptures operates dynamically on our senses.

Because of the repetition of one element within a single object, we get, from different views of our focal point, a futuristic impression of a movable dynamism of the sculpture. Eva calls such a principle “women’s principle,” which involves, in her words, “a special principle of the creating of a monumental work through the piecing together of little movements, little actions into larger and larger wholes.” The essence of her sculptures
and projects is hidden in the patient, precise work that over time results in surprising and
complex solutions. The sculptor in her compositions focuses on the surface of the ground
and its structure. Contact with it means to her a primal contact with the earth, with clay,
with life. This is why she again uses a grassy field for her creative domain, but this time not to weave braids from long blades of grass, and likewise not to take a walk with her fingers through the grass, but instead so that across this grass there walk steps, steps unknown, coming and going, and so that there walks time and with it also our 21st century.

Barbara Sterle Vurnik

Detajli skulpture iz cikla Enaindvajseto stoletje
Details from the series, The 21st Century

življenjepis / Curriculum vitae
Eva Peterson Lenassi je bila rojena 27. 10. 1959 v Kopru. Diplomirala je na Akademiji za likovno umetnost v Ljubljani iz kiparstva. V letih 1995-1999 je bila izredna študentka keramike na Indiana University v Bloomingtonu, Indiani v ZDA pri prof. Timu Matherju in prof. Johnu Goodhardtu. Biva v Ljubljani kot samozaposlena v kulturi.

Eva Peterson Lenassi was born on 10th October 1959 in Koper. She graduated in sculpture from the Academy of Arts in Ljubljana. From 1995 to 1999 she studied ceramics at Indiana University, Bloomington, Indiana, her professors were Tim Mather and John Goodhardt. She lives and works freelance as a fine artist in Ljubljana.

Razstave in dogodki / Exhibitions and events

1995
Dol pri Ljubljani, projekt postavitve glinenih objektov na obrežju reke Save (dokumentarni filmski zapis) / Individual project at Dol pri Ljubljani, exhibiting ceramic objects on the banks of the Sava River

2003,
Lokovec v Trnovskem gozdu, likovna delavnica Hrepenilda (spletanje trav in situ) / Art symposium HREPENILDA, plaiting tall flowering grasses in the village Lokovec in the Trnovo woods

2004
Indianapolis, ZDA, The 2004 International Orton Cone Box Show, NCECA, razstava nato potuje dve leti po ZDA / The 2004 International Orton Cone Box Show, NCECA, Indianapolis, USA, and on a two-year tour around the USA

2004
Amaroussion, Grčija, 1. European Ceramic Competition EUCECO / 1st European Ceramic Competition EUCECO, Amaroussion, Greece

2004 Postojna, 1. bienale slovenske keramike Na svoji zemlji (priznanje) / 1st Biennale of Slovenian Ceramics ON OUR EARTH (award)

2004 Grad Podsreda, pregledna razstava slovenske keramike “Keramika v Sloveniji 1964 - 2004” (prenos v Narodni muzej Ljubljana) / The Podsreda castle and the National Museum in Ljubljana, overview of Slovenian ceramics, CERAMICS IN SLOVENIA 1964 - 2004

2004 Galerija Loterije Slovenije, “Strukture”, razstava treh avtorjev / A show by three artists STRUKTURE in the Galerija slovenske loterije

2005
Postojna, Predjamski grad, Razstava nagrajenih avtoric s 1. bienala slovenske keramike
Na svoji zemlji 2004 / A show of awarded authors from the 1st Biennale of Slovenian Ceramics ON OUR EARTH

2005
Piran, Ex-tempore Piran 2005, VI. mednarodni ex-tempore keramike (nagrada za najbolj izvirno delo) / VI. International Ex-tempore in Ceramics Piran, (award for the most innovative artwork)

2006
Piran, Meduza 2, “Fructus ignis” delo meseca / FRUCTUS IGNIS, The Artwork of the Month, Piran, The Meduza gallery

Naslov / Address
Majaronova 20, 1000 Ljubljana, Slovenija
telefon / telephone: +386 1 437 6071, mobile: +389 40 384 345,
e-mail: lenassieva@yahoo.com

organizacija razstave in izdajatelj / Organization of the exhibition and publisher:
Društvo likovnih umetnikov Ljubljana, zanj / Represented by: Alenka Vidrgar in Dušan Muc
kustosinja razstave / Curator: Barbara Sterle Vurnik
postavitev razstave / Installation of the exhibition: Eva Peterson Lenassi
besedilo / Text: Barbara Sterle Vurnik; prevod v angleščino / English translation: Bruce J. Peterson; fotografija / Photography: Eva Peterson Lenassi;
Katalog: priprava in tisk / DTP and printed by: Mat-Format d.o.o.; naklada / Print run: 300 izvodov / Copies; junij / June 2006; Ljubljana, Slovenija

Razstavo je podprl Oddelek za kulturo in raziskovalno dejavnost Mestne občine Ljubljana / The exhibition is supported by the City of Ljubljana