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Umetniške prakse, ki s paleto medijsko vizualnih tehnoloških pripomočkov posegajo v polje domnevno naravnega in ga skozi simulacije izpostavljajo neskončnemu številu reinterpretacij, že desetletja lahko razumemo v nujni povezavi sodobne umetnosti z dosežki znanosti. Tovrstni koncepti v domeni likovne umetnosti neposredno vstopajo tudi v sfero opazovalčevega pogleda. Izvornost organske snovi bi namreč brez posredovanja tehnološkega orodja ostala pogledu prikrita. Vendar pa tako ustvarjene podobe "prave" narave nikakor ne posnemajo, temveč jo v izpeljanem umetniško tehnološkem procesu šele konceptualno problematizirajo in transformirajo v vrsto artefaktov, ki tematsko segajo onstran organskih oblik. Preoblikovanih motivov narave v delih Uršule Berlot torej nikakor ne gre pojmovati esencialistično.
Celotna ambientalna postavitev svetlobnih objektov je v galerijskem prostoru vzpostavljena po strogo zasnovani formalni shemi, ki dopušča nekoliko več nenačrtovane svobode zgolj ob naključno ustvarjenih abstrahiranih naravnih oblikah, skoraj kozmičnih vzorcih, ki bi bili sicer lahko prepoznani kot temeljni elementi narave. Nastale razsrediščene forme, ki so z reduciranimi umetnimi materiali (kakršna je npr. umetna smola) v izčiščenem minimalističnem stilu gestualno nanešene na transparentne slike iz pleksi stekla, so tudi same prosojno brezbarvne. Nekoliko obarvana je ponekod šele umetna svetloba, ki seva v obliki različnih vrst usmerjenih snopov luči in na izbranih zaslonskih površinah (galerijska stena, tla ali neko drugo dodano belo ozadje) s svetlobno hitrostjo slika nove odsevane podobe. Pojavljajoče se optične podobe v svojih metamorfozah poleg svetlobno-senčnih odnosov med snovnim in nematerialnim razstirajo tudi povsem drugačne dimenzije prostorsko-časovnih razsežnosti. Avtorica skuša nenehno spreminjajoče se naravne procese problematizirati skozi nove in nove ponovitve gibljivih podob, s katerimi kreira nove tehnološke prostore optičnega polja. V procesualni dinamiki si prizadeva presegati klasična dialektična razmerja med materialnim in nematerialnim, med svetlobo in senco, premenami in stalnostjo ter med minljivostjo in večnostjo, s čimer se že postavlja onstran vseh dualistično zastavljenih mej. Uršula Berlot s svetlobnimi objekti ustvarja iluzoričen prostor, ki lahko gledalcem in gledalkam poleg eksperimentalno vizualnih pojavov odpira tudi manj običajne percepcijske izzive v smislu individualnega dojemanja časa in prostora.

Alenka Spacal

The essential connection of contemporary art with the advances of science has for decades been a key to understanding artistic practices which, through the use of the full spectrum of media/visual technologies, encroach on the field of the supposedly natural and, through simulation, expose it to an infinite number of reinterpretations. In the domain of fine art, such concepts also enter directly into the sphere of the observer's view. Without the intervention of technology, the originality of organic matter would remain hidden. Images created in this way are, however, in no sense an imitation of 'true' nature. Rather, they are problematised conceptually in the artistic-technological process and transformed into a series of artefacts which thematically reach beyond organic forms. For this reason, the transformed natural motifs in the works of Uršula Berlot should not be subjected to an essentialist interpretation.

The entire installation of light objects is established in the gallery space according to a rigidly conceived formal scheme. An element of unplanned freedom is permitted by the existence of randomly created abstracted natural forms, almost cosmic patterns, which could otherwise be recognisable as fundamental elements of nature. The resulting decentred forms, which are gesturally applied to transparent Plexiglas pictures through the use of reduced artificial materials (for example synthetic resin) in a purified minimalist style, are also themselves transparently colourless. The only spots of colour come from the artificial light which radiates in the form of different sets of directed bundles of lights and paints new reflected images at the speed of light on selected screen-like surfaces (the gallery wall, the floor or other added white background). As well as the light-and-shade relationships between the material and the immaterial, the resulting optical images reveal, in their metamorphoses, completely different aspects of the dimensions of space and time. The artist attempts to problematise constantly changing natural processes through endless repetitions of mobile images by means of which she creates the new technological spaces of the optical field. In the dynamics of this process she attempts to go beyond the traditional dialectical relationships between material and immaterial, light and shade, change and permanency and transitoriness and eternity. In this way she places herself beyond all borders based on dualities. With her light objects, Uršula Berlot creates an illusory space which, as well as presenting experimental visual phenomena, is capable of setting more unusual perceptional challenges for the viewer in the sense of an individual understanding of time and space.

Alenka Spacal

Uršula Berlot se je rodila 10. 10. 1973 v Ljubljani. Po Naravoslovno-matematični srednji šoli je dve leti študirala samostojno filozofijo na Filozofski fakulteti v Ljubljani, nato pa slikarstvo na Akademiji za likovno umetnost v Ljubljani. Diplomirala je leta 1998 (prof. Gnamuš) in magistrirala z delom Narava leta 2002 v Ljubljani. Vzporedno se je izobraževala na Ecole Nationale Superieure des Beaux-Arts v Parizu, kjer je diplomirala leta 2000 (prof. Piffaretti). Letos nadaljuje doktorski študij na Akademiji za likovno umetnost v Ljubljani (prof. Brejc).
Pomembnejše razstave: Mala Galerija (pod vodstvom Moderne Galerije) v Ljubljani, Galerija Equrna, Galerija Škuc (skupinska), Sakaide Civic Art Museum na Japonskem, Galerie Bernanos v Parizu, Galerie de Cite Internationale des arts v Parizu ...

Uršula Berlot was born in Ljubljana on 10 October 1973. After leaving the Secondary School of Natural Sciences and Mathematics she studied philosophy for two years at the Faculty of Arts in Ljubljana and then studied painting at the Academy of Fine Art in Ljubljana. She graduated in 1998 (under Prof. Gustav Gnamuš). In 2002 she took her master's degree in Ljubljana in 2002 with the work Narava (Nature). While studying for her master's degree she also attended the École Nationale Supérieure des Beaux-Arts in Paris, graduating in 2000 (under Prof. Bernard Piffaretti). This year she is continuing her doctoral studies at the Academy of Fine Art in Ljubljana (under Prof. Tomaž Brejc).

Major exhibitions: Mala Galerija (under the direction of the Moderna Galerija) (Ljubljana), Galerija Equrna (Ljubljana), Galerija Škuc (group exhibition) (Ljubljana), Sakaide Civic Art Museum (Japan), Galerie Bernanos (Paris), Galerie de Cité Internationale des Arts (Paris).