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TINA DOBRAJC: JE TO VSE, KAR JE? / IS THAT ALL THERE IS?

Tina Dobrajc je uveljavljena vizualna umetnica, ki je najbolj prepoznavna po svojem slikarstvu, ustvarja pa tudi na področju ilustracije in scenografije. Za njena dela je značilno prepletanje tradicije s sodobnostjo, saj v njih združuje elemente slovenske folklore in mitologije z motivi iz vsakdanjega življenja in pop kulture, skozi ta preplet pa odpira različna družbeno kritična vprašanja, s posebnim poudarkom na problematiki medčloveških odnosov in človekovega odnosa do narave. Na tokratni razstavi umetnica predstavlja nova slikarska dela, v katerih nadgrajuje svojo prepoznavno ikonografijo z novostmi. Osrednje prizorišče njenih slik je navadno divja (gozdnata) pokrajina, ki jo spričo nenaravnih barvnih poudarkov in svetlobe prežema skrivnostnost, sanjskost, celo mističnost. V novejših slikah se v krajino zajedajo podaljški civilizacije, kot so posamezni elementi infrastrukture, osamljene stavbe, zapuščeni trampolini in igrala, zato deluje kot nekakšen rob civilizacije. Glavne figure na slikah so vselej deklice ali mladenke, odete v oblačila iz različnih časov in noš, ponekod s pustnimi dodatki, drugod razgaljene, spremljajo jih avtohtone gozdne ali domače živali kot njihove družabnice, sopotnice in vse bolj tudi zaveznice. V starejših delih so figure upodobljene frontalno, s pogledom, strmo uprtim v gledalca, in postavljene v prvi plan slike, pred krajino kot prostorom, ki ga s svojim telesom zaslanjajo. V novejših delih pa se vse bolj umikajo v ozadje, postajajo del krajine in se včasih celo zlijejo z njo do točke, ko jih skoraj ne opazimo več. Hkrati se stopnjuje njihova obrambna drža, postajajo vse bolj grozeče in napadalne, ali pa se, prav nasprotno, brezbrižno obračajo stran od nas in vračajo »nazaj k naravi«. Tam se je vzdušje medtem spremenilo – običajni skrivnostnosti in temačnosti se spričo atmosferičnih barv z obeh koncev spektra, ki priklicujejo občutek neznosne vročine oziroma neživljenjskega hladu, pridružuje slutnja apokalipse. Iz opisanih razmerij med figuro in krajino je očitno, da slednja predstavlja njihovo (nemara neprijazno in temačno, ampak domače) življenjsko okolje v najširšem pomenu besede. Če so v umetničinih starejših delih v ospredju razmerja znotraj človeške družbe, ki se vselej simptomatično razkrijejo v odnosu do mladih žensk, se v novejših težišče premakne na odnos človeštva do narave. Te slike odražajo, kar se v stvarnosti z vsakim dnem bolj približuje – stojimo na robu civilizacije in se sprašujemo Je to vse, kar je? Mojca Grmek kustosinja Tina Dobrajc is an established visual artist, known primarily for her paintings, but also for her work as an illustrator and set designer. Her works are characterised by an interweaving of tradition and contemporaneity, combining elements of Slovenian folklore and mythology with motifs from everyday life and pop culture. Through this interweaving, she raises various socially critical issues, focusing in particular on the problem of interpersonal relationships and the human relationship with nature. In this exhibition, the artist presents new paintings in which she builds on her recognisable iconography and expands it with new additions. The central setting of her paintings is usually a wild (forest) landscape, which appears mysterious, dreamy and even mystical due to unnatural accents of colour and light. In the more recent paintings, extensions of civilisation, such as separate elements of infrastructure, isolated buildings, abandoned trampolines and playgrounds, become part of the landscape and almost make it seem like the edge of civilisation. The main protagonists of the paintings are always girls or young women, dressed in clothes from different eras and costumes, sometimes with carnival accessories, other times scantily clad, accompanied by native forest or domestic animals as their companions, cohorts and increasingly also allies. In older works, the figures are depicted frontally, their gaze is pointedly directed towards the viewer, and they are in the foreground of the painting, in front of the landscape as the space they shield with their bodies. In more recent works, however, they recede more and more into the background, becoming part of the landscape and sometimes even merging with it so that they are almost imperceptible. At the same time, their defensive stance intensifies, they become increasingly threatening and aggressive, or, on the contrary, they turn away from us indifferently in a return "back to nature". In the meantime, the atmosphere there has shifted – the extremes of the colour spectrum evoke an overwhelming sensation of either scorching heat or bone-chilling cold – the usual mystery and gloom are joined by an ominous sense of impending apocalypse. From the relationships described between the figure and the landscape, it is clear that the latter represents their (perhaps unfriendly and dark, but familiar) living environment in the broadest sense of the word.