...The artistic work of Gasper Jemec, which includes paintings, visual objects and multi-media work, highlights the author's restless and experimental nature, which takes delight in discovering new means of expression and working methods. The artist is always at pains to plant his work in a modern creative context. On the one hand, the painting of the young Jemec is always closely linked to the methods he uses, to sensual expression and direct contact with colour, where images born out of an interplay between the coincidence and deliberate action are neither mimetic not wholly abstract.

One such example is his series of black and white paintings in which the working methods applied have led to an allusive variety of forms, which in spite of their synthetic appearance and absence of colours, hark back to natural origins and processes. These are omnipresent by virtue of their nature and the way the material, viscose acrylic gelatine, with its qualities of extensibility, transparency, and fluidity, chooses its own forms and path. In the resulting morphological waves, images take shapes that resemble physiognomic fractals. These fractals, as scientific explanations, permeate all the material and in that way underscore the hidden order in the chaos, like uniformity within dissimilarity.

That is why Jemec's shapes conform to views that technology has made possible by means of telescopes, probes and microscopes. The artist brings in the technological angle to his work consciously, since he is aware of the interesting possibilities that technology and its transformative influence on contemporary art production can have. He also understands that the image must adapt to the rules that the venue for its display determine, and especially also to the viewers' growing appetite for stimulation, capable of rousing their sensations and drawing in their attention. That is why Jemec's images are often attractive panoramas of intertwined shapes and lively colour, of light, smooth and synthetic surfaces that respond to the technical glamour of the current day and age, and are usually displayed in well-lit niches and display cases where they compete with the screen.

In the project Sirjave (Latitudes) the image is simply used as a model and is modified in its projection on plexi glas. The project's true features are in fact 'reproduced' on the surface as a relict, preserved in amber, with the light generated by true light from the background, as if from the tube of a catode. It appears as if in the constructed, imaginary vedutas Jemec also reinterprets the tradition of panoramic images. The forerunner to film and the more recent virtual space, these were employed in the 19th century, along with photos, light and other stage properties, to create illusionist scenes of historic battles or exotic regions and thus stage a different, otherwise inaccessible experience. The image on display in the illuminated niche follows similar lines. The fragments of reality are translated into stylised, coloured surfaces as they spread out into an unreal atmosphere.

This is perhaps the landscape of the mind which can only be found in the imagination. Jemec's creative work is deeply rooted in the desire to uncover the unknown, as the ultimate aim of human ambition and discovery. This is the motivation behind both his multimedia objects, which resemble travelling bodies, Voyagerji (Voyager), explorers of the metaphoric darkness of the deep seas, and his painted images, which highlight the width of perspective that penetrates physical space and time. It is this utopian desire for the discovery of the 'anatomy' of the visible world that is also the source of our fascination with technology today. ...


Nadja Gnamus

Ljubljana, 2007


Author bio

Nadja Gnamus (born 1975) is an art historian and a free-lance art critic. She is finishing her doctoral dissertation in Historical Antrophology of Visual Arts at Ljubljana Graduate School of the Humanities. She writes art criticism and studies for exhibition catalogues and publishes articles on modernist and contemporary art and theory.