Leonard Rubins Slovenija
Big picture / Večja slika
Smer Tahiti / Bora Bora Dreams
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Brycemania
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Budisticne sanje / Budhistic Dreams
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Ali imaš vizijo / Do You Have Vision
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Etericno jezero / Etheric Lake
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Dnevnik I / Jurasic diary I
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Cuvarji rožic / Meadov Friends
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Pomladne sanje / Midsummertime Dream
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Misticna poroka / Mystic Rosary
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Cas Nove dobe / New Age Boy
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Planeti / Planets
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Raduj se mladosti / Rejoice Thy Young
Drugacne slike Leonarda Rubinsa

REŽISER LASTNE DOMIŠLIJE

OD KOMBINIRANIH TEHNIK DO RACUNALNIŠKIH GRAFIK

Razstava drugacnih slik Leonarda Rubinsa je izjemno zanimiv izziv za publiko. V prvi vrsti zaradi neobicajnih vizualizacij v primerjavi z obstojecimi umetnostnimi smernicami figuralike na Slovenskem. Po vsebinski plati se prepleta intimna ikonografija s tradicionalno historicno na nenavaden, originalen nacin. Po odzivu na mamljivo lepoto kica, svojevoljnem citiranju zgodovine ter s fantasticnimi montažami je soroden Marku Jakšetu, po izpiljenem formalizmu pa je še najbližje Samu Lapajnetu, ki je eden najprepricljivejših umetnikov, ki ustvarjajo/slikajo na racunalniku. Enigmaticne zgodbe so eklekticne mešanice kršcanske ikonografije in tipologije dobrega (Madona, angeli, dobrodušne figure iz risank...) in zlega ' (hudici, netopirji, kace, volkovi...) ter. njihovih pomenskih relativizacij skozi evokacijo arhetipov in alkimijskega spajanja nasprotnih polov. Vse to je tesno zlito z bogatim individualnim pomenjenjem sanj v preobloženih in blešcecih fan- tasticnih svetovih. Graficno in barvno kompleksne kozmicne in zemeljske krajine ter vedute nebeških arhitektur so mestoma blizu nadrealisticnim scenografijam tridesetih in štiridesetih let, obstojecim znanstvenofantasticnim stripom, ki uporabljajo za vedute manieristicne stile, ali celo kuriozni ferrarski renesansi. Pogosta predloga so tudi motivi iz nararave.Rubinsova scenografija so natancno izdelane kulise, ki izginjajo v prostor v renesancnem horizontu. Rubins je režiser lastne domišljije, ko spaja raznorodne svetove v harmonicno enega, in pri tem že iznajdeni in izdelani elementi niso ovira, da jih ne bi uporabil in prekvasil v svojo fantasticno zgodbo. Njegovi svetovi so vedno mehki in sladkobni, z estetskimi korekturami strašnega, nikoli zares grozljivi, kot magicna potopitev v sanje. Leonard Rubins neobremenjeno zamenjuje medije ali kombinira klasicni slikarski manualni pristop s copicem, fotografijo in kolaž ter jih dopolnjuje s programiranimi zmožnostmi racunalnika'. Tudi v novem mediju je možno uporabiti fotografijo, kolažirati in intervenirati s slikarskimi efekti in dodatki. Copic ali miška sta manualna vmesnika, ki nista osrednjega pomena; težnja, ki jo ocividno izraza avtor, pa je uporabiti katerikoli medij, naj si bo to fotografija kolaž, akril, racunalniška grafika ali kombinacije naštetih, toda medij ostane na nivoju medija - sredstva za dosego želenega ucinka, kar pomeni, da medij ni samemu sebi namen. Mediji so za Rubinsa zgolj sredstvo za podajanje, vizualiziranje bogatega notranjega doživljanja, ali kot nove opcije možnega.

Kustosinja Aleksandra Kostic


Artworks by Leonard Rubins

DIRECTING HIS OWN IMAGINATION

FROM COMBINED TECHNIQUES TO COMPUTER GRAPHICS

The paintings and the computer graphics of Leonard Rubins are extremely interesting and challenging for his public. First, because of his unusual visualizations as compared to the existing artistic guidelines of representation in Slovenia. As for the contents, intimate iconography mixes with the traditional historical iconography in an unusual and original way. As for his response to the tempting beauty of trumpery, capricious citing of history and fantastic assemblings he is close to special fantasy and celestial art, as for perfected formalism he is closest New media-visual art. Enigmatic stories are eclectic mixtures of Christian iconography and the typology of the good (Madonna, angels, sweet-tempered figures taken from cartoons...) and the evil (Satan, bats, snakes, wolves...) and their semantic relativisations through the evocation of archetypes and alchemic unions of opposite poles. Everything is interwoven with rich individual significations of dreams in abundant and glittering fantastic worlds. Graphically complex and colourful cosmic and earthly landscapes and cityscapes. Celestial architectures are sometimes close to surrealist scenographies of thirties and fourties, or to science-fiction comics, which use mannerist style for cityscapes or even to curious Ferrara renaissance. Motives from nature are also frequent. Rubins' scenes are exact sceneries, being lost in space within the renaissance horizon. Rubins is the director of his own imagination, when uniting different worlds in one harmonious world, where existing and ready-made elements do not present a hindrance, on the contrary, he uses them in a fantastic story of his own making. His worlds are always tender and sweetish, with aesthetic corrections of the frightful, thus never really dreadful, but rather a magical sinking into dreams. Leonard Rubins freely changes mediums or combines classical approach of manual painting with a brush, with photography and collage and supplements them with programmed computer possibilities. Photography can as well be used in the new medium, collaged - assembled and intervened by means of painted effects or additions. The brush, the mouse or the electronic pencil represent manual intermedium, not of the central importance. The author's aim is to use whatever medium, from photographic collage, acrylic, computer graphics or a combination of any of these techniques - where a medium remains a medium - it is merely the means to achieve the desired effect, which means, that the medium is not used for its own sake. Mediums are only means for the presentation, visualisation of rich inner experience for Rubins, or simply a new possibility.

Curator Aleksandra Kostic