16. 12. 1997 – 9. 2. 1998
Nikolaj Beer is a painter, whose plastic expression presents a constructive continuation of not only the painting of Ludvik Vrečič (1900–1945) and his themes of the Prekmurje landscape of the 1930’s, perceived in a very expressive way but also the painting of Ladislav Danč (1932–1979) featuring a veryrelaxed stroke of painters brush so very evident in the painting of the Goričko landscape created in the last few years of Danč’s life, permeated and charged by a very spetial energy of the Goričko world as well as of the Pannonia flatland originating from their configurations of low bushes and wide horizons.
As regards Sandi Červek one can maintain that his development as well as the emergence of his black paintings – surely are a very explicit and personal example of monochromatic painting which can be put within the framework of the so-called European monochromatic painting of open field of painting – has been affected by his experience of the material world, especially of the human body and its figure, which, however, in Červek’s painting remains omnipresent for its ultimate traces and remnants and can be traced in the vertically drafted sizes of his paintings.
The setting free of the figural painting of Zdenko Huzjan, is in its ultimate phase reflected through materialistic nature of the prevailing red surfaces of colour within which the painter’s dialogue with space is realized by the tracks of his hands and fingers wherein flows the energy of the painter’s mind and body.
The painting of Marjan Gumilar does not reflect the figural nature in the sense of huma image; it deals constantly a metrial and ambiental features of a landscape, of a residential space which the painter is able to express through a structurally systematic erection of the field of painting within various spatial ratios dependent not only upon the versatility of geometric forms but also on laying great stress upon chromatic values of colour, shape and material which can function very auchtonous, in the sense of homogeneity of the carrier of the epidermis of painting realized by miultiple layers within which one can trace the variety of the soft and the solid , the depth and the flat, the translucent and the opaque.
From the very beginning Masarič’s painting can be defined by a constructivist approach with the help of which he is able to express his ideas, notions and the view of life within the realms of the reality of construction which can be mastered by mind and intuition in order for it to be rediscovered in the given reality, penetrated, discovered and shaped by the painter with his very geometric way of perception, by a controlled stroke of his brush and by a carefully chosen earthen colouring.