22. 7. 1999-22. 8. 1999 Samuel Grajfoner
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Samuel Grajfoner, Lady Grisel Baillie matrix and Cardinal Beatonon
Rotovž Exhibition Salon, Boris Kraigher Square 3, Maribor
Samuel Grajfoner designed this (second) independent presentation in the Rotovž showroom in accordance with the latest tendencies as a spatial installation, but with an emphasis on the graphic sheet as a basic and irreplaceable presentation form of graphic production. Partly related to the past exhibition in Varaždin, he distributed his unconventional layout into two heterogeneous, but supplemented the JukstaPoned set, and in addition to the artistic message, he also highlighted didactic content.
Often, new ideas to creators, with completely random events that encourage their imagination, to easily divert a established thought stream and open to different perspectives. Grajfoner discovered a pair of portrait graphics of smaller book format of an anonymous author from the first half of 19 of the two of the county antiques of the Scottish city of Edinborough while contacting the Scottish city of Edinborough. centuries represented by Lady Grisel Baillie and Cardinal Beaton and redeemed immediately. It was only when the negative format matrix (using a special technical procedure) was fully disclosed that the details of precise graphic processing were completely revealed, while also becoming a design process, during which the anonymous graphic artist, with the help of basic geometric characters, has compiled a classic composition of a bust of portrait,, the assigning structure of individual parties of the matrix surface. The Grajfoner, when analyzed by primary forms and structures, has a joint artistic starting point and for the first time in his oeuvre he decided to use “found” as an ingredient in his own graphic production, a hotel with their magnification and multiplication (already on minimalism) to point out the importance of a graphic detail in V V the framework of a comprehensive technological process while also highlighting the relation between the forms of depicted and their own forms. The idea is realized in the framework of the first set of the exhibition with the help of a uniform arrangement of graphic sheets along the broken walls of the exhibition in terms of Friz, so that each portrait is attributing the selected graphics of their own production and almost imperceptibly classifying them in the composition. Therefore, it seems as if the artist, on the one hand, is trying to cover his presence in terms of the author’s distance, and on the other, he constantly observes us through the multiplied Cardinal and Lady’s eyes.
The second set of the presentation is no less unusual, as Grajfoner against anticipation radically limits the showroom to the upper floor of the salon by covering and closing the staircase with a mounting cube whose walls use as a billboard. The consequence is the content and construction distribution of the exhibition to the perimeter and the core forming in the middle of the narrow corridor. A comprehensive construction of a heavily indented, almost claustrophobically effective space becomes not only a frame where the exhibits presented, but also an integral, co -edible element of installation can be classified. Unlike the perimeter, the layout at the core is distinctly authored, as this time the artist covers walls with his own drawings, graphics and low -rise gypsum boards, which are actually casting linogravary matrices, maintaining the original whiteness of the material.
Due to deep incisions, linogravar matrixes have an embossed not only as negatives, but also intervene when using special dense colors the same effect as (positive) graphic prints, which are often combined with aquatint. Plaster casts represent a concrete and symbolic synthesis of Grajfoner’s complex artistic personality that combines an unusual combination of graphics and sculptor. In certain cases, the latter is also reflected in the “sculptural” method.
At the same time, it attributes great importance to new ecologically impeccable chemical substances, but exclusively within classic techniques that keeps them uncompromisingly throughout the graphic production. The classic is also the choice of printing color: consistently black. It is used as self -imbolic, as an ideal contrast to the whiteness of the carrier, and perceives it rather than the design material and less than the color for painting.
These properties directly relate to the performance of newer Grajfoner exhibitions in the form of integration of graphic tools and materials (NAPR. bitumen), printing cylinders, baths, work tables and last but not least, as a supplement to the basic layout, thus introducing conceptual components into its oeuvre. In this way, it seeks to present to the audience not only the graphic list as the final product, but at the same time reveals the specifics of the technological process and the individual phases in the continuous processing of the graphic board. For him, the matrix is a kind of creative polygons in terms of constant bolting, transformation and exploration of expressive options of the chosen technique. Therefore, most of Grajfoner’s graphic sheets are unique but never exceed three prints.
An independent presentation of graphic works in the manner of a comprehensive installation is undoubtedly a precedent in the Maribor Galleries, and the Rotovž showroom seems to be commissioned for the realization of Grajfoner’s trendy ideas about contemporary placements.
Samuel Grajfoner, academic sculptor and graphic artist specialist was born 8. September 1962 in Maribor. He studied at the Ljubljana ALU sculpting department, where he graduated in 1990 with Prof. L l e l l e l va l e l va l e l va l e l ve. To the watercourse, and the study was supplemented with a graphic special at Prof. B. Suhy on the same institution. Study is refined on acad. Minerva in Groningen, the Netherlands (prof. W.J onkman and f. Hesseling) and in block Printmaking Studios (London, Paris). Is an Assistant Professor of Graphic and Drawing at the Faculty of Education in Maribor. Title: Magdalenski trg 9, Maribor.