ODPRTJE RAZSTAVE ORGANISMS: PRAH SI IN V PRAH SE POVRNEŠ

Kiparstvo Boštjana Kavčiča se v seriji ORGanizmov spogleduje s časom in prostorom prazgodovinskih, megalitskih pokrajin. Njegove skulpture skušajo priti do tako preprostih in čistih oblik, kot bi jih oblikovala narava sama. In to je tudi eno izmed avtorjevih vodil: približati se, kolikor je le mogoče prvinskemu, tako v obliki, kot tudi v materialu. Kavčič skuša kamen večinoma ročno obdelati, saj prav skozi interakcijo z njim išče pristno vez s samim seboj. Kamen zahteva skoncentrirano pozornost za razliko od virtualnega, ki našo pozornost razprši. Obdelava kamna je zanj religiozen obred. Od tod vse to iskanje ravnovesja in pretoka sil skozi napenjanja volumna kipov, vse te luknje, ki so kot prehodi med snovnim in nesnovnim. Kavčič se tako z eno roko dotika prazgodovinskega sveta iz časa Stonehenga, da bi dosegel najbolj možno preprostost, naravnost in zato brezčasnost in tako kipe naredil kot markerje te pozabljene krajine. Tiplje in pretaplja signale hektičnega urbanega življenja nazaj v meditativne udarce dleta ob kamen. Z drugo roko pa se dotika kamna preko stroja, kajti zaveda se, da brez teslinega izuma izmeničnega motorja in ostalih kasnejsih izumov, marsikaj danes ne bi bilo možno. Tudi črte ne, ki plastijo površinskost avtorjevih organizmov, saj so s resnici sledi diamantnih brusov kotnega brusilnika. Avtor zavestno sprejema svojo dobo in vse kar prihaja z njo. Tako ne beži ne v en, ne v drug čas, obdan z izkušnjami obojega se želi približati preko kiparstva »zgolj« k samemu sebi in k izvoru življenja.

Boštjan Kavčič’s sculpture flirts with the time and space of prehistoric, megalithic landscapes in his ORGanisms series. His sculptures try to arrive at forms as simple and pure as if they were shaped by nature itself. And this is one of the artist’s guiding principles: to get as close as possible to the primitive, both in form and in material. Kavčič tries to work stone mostly by hand, because it is through interaction with it that he seeks a genuine connection with himself. The stone demands concentrated attention, unlike the virtual, which distracts our attention. For him, working the stone is a religious ritual. Hence all this search for balance and the flow of forces through the tensions of the volume of the sculptures, all these holes that are like passages between the material and the immaterial. Kavčič thus touches the prehistoric world of Stonehenge with one hand in order to achieve the greatest possible simplicity, naturalness and therefore timelessness, making the statues as markers of this forgotten landscape. He is touching and translating the signals of hectic urban life back into the meditative strikes of the chisel against the stone. With his other hand he touches the stone through the machine, because he is aware that without Tesla’s invention of the AC motor and other later inventions, many things would not be possible today. Not even the lines that layer the superficiality of the artist’s organisms, which are in fact the traces of the diamond grinds of an angle grinder. The author consciously embraces his age and all that comes with it. Thus, he does not escape to one time or another, but, surrounded by the experience of both, he wants to approach himself and the origin of life through sculpture “only”.

Boštjan Kavčič (1973) je slovenski kipar, ki je leta 2003 diplomiral pri prof. Luju Vodopivcu na Akademiji za likovno umetnost in oblikovanje v Ljubljani. V času študija je prejel univerzitetno Prešernovo nagrado za kiparstvo. Izpopolnjeval se je pri Marku Pogačniku in Draganu Živadinovu. Leta 2007 je magistriral iz videa in novih medijev pri prof. Sreču Draganu. Predstavil se je na mnogih samostojnih in skupinskih razstavah, se udeležil mednarodnih simpozijev, prejel več nagrad ter postavil vrsto javnih del doma in na tujem. Njegova dela so uvrščena v zasebne ter javne zbirke muzejev in galerij.

Boštjan Kavčič (1973) is a Slovenian sculptor who graduated in 2003 from the Academy of Fine Arts and Design in Ljubljana, where he studied with Prof. Lu Vodopivec. During his studies, he received the university’s Prešeren Prize for Sculpture. He studied with Marek Pogačnik and Dragan Živadinov. In 2007 he received his Master’s degree in Video and New Media from Prof. Sreč Dragan. He has participated in numerous solo and group exhibitions, international symposia, received several awards and has installed a number of public works at home and abroad. His works are included in private and public collections of museums and galleries.