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Izbrana dela 2000 - 2013


NATAŠA TAJNIK STUPAR, RE - VIZIJA, izbrana dela 2000- 2013 / RE - VISION, selected works 2000- 2013 10. 10. 2013 – 30. 11. 2013 NATAŠA TAJNIK STUPAR, Re - vizija / Re - vision Katalog izdal / Published by: Galerija Velenje Zanjo / Represented by: Stanislava Pangeršič Besedilo / Text: Vasja Nagy Oblikovanje / Design: Sebastjan Kurmanšek Fotografija / Photography: Robert Baron, Miran Beškovnik, Goran Petraševič, Tihomir Pinter, Robert Ograjenšek- Jele, Sebastjan Kurmanšek, Aljoša Videtič Prevod / Translation: Nataša Makovecki Jezikovni pregled / Language editing and proofreading: Jure Jakob Tisk / Print: Gorenje IPC, d.o.o., Kunigunda studio Naklada / Number of copies: 150

Galerija Velenje Titov trg 5, 3320 Velenje, Slovenija E- pošta / E- mail: info@galerijavelenje.si Telefon / Phone: +386 (0)3 828 00 10 Odprto / Open: torek – sobota, 10.00 – 18.00 / Tuesday to Saturday, 10.00- 18.00 Zaprto / Closed: ponedeljek, nedelja in prazniki / Monday, Sunday, holiday

CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana 75(497.4):929Tajnik Stupar TAJNIK, Nataša     Re-vizija [Elektronski vir] : izbrana dela 2000-2013 / Nataša Tajnik Stupar ; [besedilo Vasja Nagy ; prevod Nataša Makovecki]. - Velenje : Galerija, 2013 ISBN 978-961-93020-2-6 269045760


V NAVEZI Razstava Re-Vizija je zasnovana kot pregled preteklega ustvarjanja Nataše Tajnik Stupar, vendar že naslov, ki ji ga je nadela avtorica, govori o tem, da ne gre le za nazaj usmerjen pogled. Z roba prihodnosti zremo tudi naprej. Eden od razlogov za postavljanje pregledne razstave je lahko zaključek nekega obdobja, vendar v tem primeru temu ni tako. Bolj gre za prikaz kontinuitete ukvarjanja z nekaterimi temami, simboli in oblikami. Celo vprašanju razvoja, kot nekakšne hierarhične strukture, ki sili od manj k bolj, se z lahkoto odrečemo. Seveda je mogoče v deset in več letnem ustvarjanju opaziti spremembe tako v formalnem kot tehničnotehnološkem pogledu. V obeh lahko začutimo samozavestno odmikanje od akademskih okvirov in stopanje po lastni poti raziskovanja in zrelega izražanja. Toda mar ni to lastnost vsakega radovednega duha? Mnogo bolj pomembne so premene vsebinske plati. Oziroma kako malo se je vsebinsko jedro spremenilo v vsem tem času. Rek, da slikar celo življenje slika eno sliko, lahko brez zadržkov uporabimo prav za njeno delo. Čeprav so motivi različni, se ves čas gibljemo v eni zgodbi. Le z različnimi besedami se pripoveduje in kaže z različnih strani. Ta slika ni zbirka prizorov in tudi zgodba ni linearna. Lirično izražanje, ki je ena od najbolj stalnih lastnosti dela Nataše Tajnik Stupar, ustvarja vtis potopitve v večdimenzionalen svet, v katerem se vse dogaja hkrati. Po eni strani so njene slike barviti vrtovi, v katerih si človekova duša spočije in se prerodi v njihovih izvirih, po drugi pa v njih najdemo vsakodnevne skrbi intimnega soočanja posameznika z zunanjim svetom. V dualistični igri med Erosom in Tanatosom čustveno zmaguje prvi, čeprav eden brez drugega nimata miru. No, skupaj tudi ne. Mitološki simboli se nanašajo na arhetipe, ki jih lahko vsakdo, ali vsaj večina med nami, posvoji. Eden od njih, pomemben za umetničino ustvarjanje, je kolo življenja. To je krog neprestano ponavljajoče se rasti in propada, nastajanja in izginjanja, rojstva in smrti. Kolo, ki ga na tej razstavi lahko v eni varianti vidimo na sliki Cirkus (2000), je praizvor motiva mandorle, ki se vztrajno pojavlja na slikah skozi vsa ta leta. Veliki krog na tej sliki je sicer razdeljen na osem segmentov, ampak njegova druga varianta z vrisanim šestkrakim cvetnim vzorcem prihaja iz stare ornamentike; to varianto lahko še danes zasledimo v ljudskem izročilu. Mandorla je en krak takšnega cveta, a tudi z odsotnostjo celotnega kroga lahko ob samo enem kraku še vedno sledimo življenjski zgodbi rojstva in smrti, ki jo nosi kolo življenja. V umetnosti jo najpogosteje prepoznamo kot simbol prehoda, kot vrata, ki ločujejo naš svet od onostranstva. V krščanstvu, na primer, se Kristus

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skoznjo prikaže iz nebes, v poganskem izročilu - preprosto povedano, ne da bi se s tem kakorkoli okrnila zapletena simbolika - pa se ta oblika najbolj neposredno povezuje z vagino. Še mnogo bolj zgovoren je izvor mandorle, če ga povežemo s srednjim poljem vesicae piscis, ribjega mehurja, ki kot celota predstavlja združitev moškega in ženskega božanstva z namenom reprodukcije. V slikah Nataše Tajnik Stupar se mandorla pojavlja v različnih variantah, vendar se vedno navezuje na svoj transcendentalni pomen – mandorla kot prehod ali vez med tukaj in onstran. Slika Pot na otok (2001) nosi nazoren naslov. Na površino platna je nanizana ponavljajoča se oblika, ki jo je mogoče videti kot barvito impresijo odsevov na valujoči gladini, po drugi strani pa spominja tudi na trupe čolnov. Podobno je tudi na črni varianti slike Tora Bora (2002). Čoln je najpogostejše mitsko vozilo, s katerim umrli potuje na drugo stran. Horizontalni niz se že sam po sebi postavlja kot pasivni antipod vertikalni mandorli, v kateri prepoznamo razpoko prihoda. Novo življenje klije na sliki Kal (2001), ki je razdeljena na dve polovici. Na eni je mogoče prepoznati žitni klas in veliko seme, medtem ko na drugi v zelenkasti lokvi cveti lokvanj. Kal kot kalček, ki požene iz semena, je tu kot besedna igra postavljen ob bok kalu, kakor na Primorskem rečejo vodnemu zajetju, ki je nekoč služilo za napajanje živine. V tem času je postala voda s svojo prosojnostjo in odsevnostjo za slikarko pomemben motiv za lirično izpoved, kot element, ki se vzpostavlja v nasprotju s kopnim, pa vsebinski motiv dualistične dinamike neskončnega kroga. Na sliki Matrix (2002) je iz ozadja poetične pokrajine v ospredje potisnjena uokvirjena podoba dveh, v spiralo zavitih kač. Po starem indijskem izročilu gre za upodobitev Kundalinija, temeljne življenjske energije, ki je pogosto interpretiran tudi kot nezavedno in libido. V evropskem izročilu zaviti kači poznamo predvsem kot del kaduceja, Hermesove palice. Hermesa so antični Grki dojemali kot božjega sla, po nekaterih interpretacijah pa je tudi vodil duše umrlih. S formalnega vidika zaviti kači kažeta dva prepletena kroga oziroma neskončno zanko. Podoben motiv je tudi Ourobourus, kača, ki grize svoj rep, vendar tega, tako kot kolo življenja, raje povezujemo z osnovnim gradnikom živega organizma – celico. Leta 2006 je nastala slika O, my DNA, na kateri se med barvnimi zaplatami s tanko črto zarisana prvič pojavi dvojna vijačnica. Avtorica motiv zelo neposredno poveže z molekulo dedne zasnove, ki jo nosi vsaka celica. Naslika jo kot vertikalno nanizane mandorle. Na tem mestu vidim ključen trenutek preskoka v ustvarjanju Nataše Tajnik Stupar, ko je za interpretacijo življenja kot pojava mite in religijo zamenjala z znanostjo. Obravnavana tema ostaja bolj ali manj

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enaka in tudi motiv mandorle ne izgine, vendar se uporaba abstraktnih simbolov umika oblikam, ki spominjajo na realistične upodobitve iz mikroskopa. Razpoka v onostranstvo postane en zavoj dvojne vijačnice, kakor se kaže na slikah Rastlinjak in Intergalaktika (2008). Motiv s kaduceja se namnoži, nakopiči in zgosti v materialne gmote, da bi jih človek lahko kar zgrabil kot debele ladijske konopce. Tako kot ostala mitološka bitja tudi Ourobourus ne sodi več na te slike. Njegovo mesto so zasedle celice, skrivnost življenja pa je preprosto zajeta v dedni zapis molekule DNK. Navsezadnje je v njih ključ, ki določa kdo in kakšni smo v naših individualnih življenjskih krogih. Individualna je tudi naveza, ki jo vsakdo nosi v sebi in ki povzroča tako edinstvenost kot podobnosti v sorodstvu. Na slikah se ta naveza pojavlja kot trakovi s senčnimi lisami, ki so naslikani po vzorcih tako imenovanih prstnih odtisov DNK. Z njimi je mogoče identificirati posameznika in določati sorodstvene vezi. Mogoče gre pri slikah, kot sta Sestri in Ponižnost (2010), za potrjevanje navezanosti po izvoru iz avtoričinega intimnega prostora, za iskanje lastne identitete. A tako kot se je že tudi v drugih delih, predvsem na risbah z ogljem iz leta 2005, intimizem povezoval s humanizmom, lahko tudi tu slutimo, da gre za širše zastavljeno prispodobo. Zgodbo lahko povežemo z začetkom in ugledamo mitsko podstat človeškega razumevanja bivajočega, ugledamo mogoče skupen izvor in iztek življenja. Ob sliki Knit the future (2013) pa se lahko zavemo, da imamo tudi sami sposobnost in moč ustvarjati in oblikovati naša življenja. Vasja Nagy

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LINKED UP The exhibition Re-Vision aims to give an overview of the past work of Nataša Tajnik Stupar. However, the very title chosen by the author suggests that the view is not directed entirely backwards. From the edge of the future it offers us also a glimpse of what is ahead. One of the reasons for setting up an exhibition of the artist’s past work could be the end of a certain period, however, this is not the case here. What is more highlighted in the exhibited works is the continuity of interest in particular themes, symbols and forms. Even the notion of development as some kind of a hierarchical structure gravitating from the less to the more can easily be discarded here. Undoubtedly, we can notice some changes in the author’s work spanning over the period of more than ten years in terms of her formal as well as the technical-technological approaches. In both we can detect a confident detachment form the academic frameworks in quest of an idiosyncratic path of research and mature expression. Yet, is that not a trait of every creative spirit? What sets the author apart is the changes in the content core of the paintings, or rather the lack of them over the past years. The saying that a painter spends a lifetime creating just one painting can be applied to the author’s work without hesitation. Even though the motifs are different, we are caught in the same story. What keeps changing is the words in the narration and the perspectives adopted. This painting is not a collection of scenes and the story is not linear either. Lyrical expression, which is one of the most persistent traits in Nataša Tajnik Stupar’s works, creates an illusion of submersion into a multidimensional world where everything takes place simultaneously. On the one hand, her paintings resemble colourful gardens promising to the soul relaxation and revival at their springs, on the other hand, the paintings evoke everyday frustrations of an intimate struggle of an individual with the outside world. In the dualistic interplay between Eros and Thanatos the former has an emotional advantage, however, one cannot find peace without the other. Nor can they together, for that matter. The mythological symbols refer to the archetypes that everyone, or at least most of us, can adopt. One of the particularly important ones in the author’s work is the wheel of life. This wheel depicts a never ending circle of alternating growth and demise, creation and destruction, birth and death. A version of this wheel can be seen at this exhibition in the painting The Circus (2000). It is the original source of the motif of mandorla, which has been occurring also in other of the author’s

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paintings over the last years. The great circle in the painting is indeed divided into eight segments, however, its other version with an embedded six-petal flower can be traced back to the old art of ornament and is still present in the folk tradition. Mandorla can be seen as one petal of such a flower, yet even with the absence of the whole circle, we can still follow the life story of birth and death as told by the wheel of life. In art mandorla most often signifies a passage, a door that separates this world from the world beyond. In Christianity, for example, Christ appears from heaven through it, whereas in the pagan tradition – to put it simply without trying to diminish its complex symbolic value in any way – this form is most directly linked with vagina. The symbol of mandorla is even more intriguing if we associate it with the middle section of vesicae piscis, the bladder of a fish, which as a whole represents the merging of the male and female deities with the aim of reproduction. In the paintings of Nataša Tajnik Stupar mandorla emerges in different versions, however, it is always connected with its transcendental meaning – mandorla as a passage or link between here and beyond. The painting The Path to the Island (2001) has a meaningful title. The canvas is scattered with repetitive strings of a single form that can be interpreted as a colourful impression of reflections on the undulating surface, or as boat hulls. Similar effects can be found in the black version of the Tora Bora painting (2002). The boat is the most common mythological vehicle used for the transport of the dead to the other side. The horizontal string functions as a passive antipode to the vertical mandorla in which we can recognise the ascension gap. A new life emerges in the painting The Bud (2001), which is divided into two halves. In one a cereal ear and a big seed are easily recognisable, whereas in the other we can see a lotus in a greenish pond. The Slovenian equivalent of the word bud is kal. In Slovenian the title is juxtaposed with another meaning of kal, which was used in the south-west of Slovenia to refer to the water source used for cattle. Water with its transparency and the potential to reflect light has become an important motif for the author’s lyrical expression. When juxtaposed with dry land it represents the content motif of the dualistic dynamics of the never ending circle. In the painting Matrix (2002) the background of a poetic landscape is contrasted with a foregrounded framed image of two serpents coiled into a spiral. According to the ancient Indian tradition, this is the representation of Kundalini, the primordial cosmic energy, often interpreted as the unconscious and libido. In the European tradition the two coiled serpents are most known as part of the caduceus, the staff carried by

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Hermes. According to the ancient Greeks, Hermes was a messenger between gods and humans and, in some interpretations, a guide to the underworld. Formally the two coiled snakes represent two entwined circles or an endless loop. A similar motif is the Ouroboros, a serpent eating its own tail, however, this one, as well as the wheel of life, is more commonly associated with the basic unit of living organisms – the cell. It was in the painting O, my DNA (2006), when the form of a double stranded helix outlined with thin lines first appeared between patches of colour. The author associates the motif very directly with the molecule carrying the hereditary material in every cell. She expresses it as a string of vertically arranged mandorlas. In my opinion, this painting marks a radical turning point in the artistic expression of Nataša Tajnik Stupar, as she now substitutes myths and religion with science in her interpretation of life. The theme remains more or less the same, and the motif of mandorla is preserved, however, the abstract forms give way to the forms reminiscent of the realistic shapes from under the microscope. The gap into the world beyond becomes one turn of the double helix, as it is shown in the paintings The Greenhouse and Intergalactica (2008). The motif from the caduceus multiplies, accumulates and thickens into a materialized mass that one could get hold of as if it were made up of thick ship ropes. Like other mythological creatures Ouroboros does not belong into these paintings any more. It is replaced with cells and the mystery of life is simply encrypted into the genetic code of the DNA molecule. After all, this is what defines who we are and what we are like in our individual life circles. The connections that everybody carries within are individual too and they determine our uniqueness as well as similarities with our relatives. In the paintings these connections are expressed through the stripes with shadowy patches that resemble the so called DNA finger prints. They enable the identification of an individual and his or her family ties. Perhaps the idea behind The Sisters and The Humility (2010) is the affirmation of the connectedness through the origin taken from the author’s intimate space, a search of one’s identity. As in her other works, especially in her charcoal drawings from 2005, where intimism was linked with humanism, we can assume that here too we are dealing with a more generalized metaphor. The story can be connected with the beginning and we can catch a glimpse of the mythical basis of our understanding of the living, perhaps of our common origin and the end of life. And finally, the painting Knit the Future (2013) increases our awareness that we do possess the ability and power to create and transform our lives. Vasja Nagy

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Interier, meĹĄana tehnika na platno, 180 x 200 cm, 2000. (uniÄ?ena) Interier, mixed media on canvas, 180 x 200 cm, 2000. (destroyed) 10


Pot na otok, mešana tehnika na platno, 180 x 210 cm, 2001. Way to the Island, mixed media on canvas, 180 x 210 cm, 2001. 11


Cirkus, mešana tehnika na platno, 125 x 175 cm, 2000. Circus, mixed media on canvas, 125 x 175 cm, 2000. 12


Life with an artist, Hommage za Frido Kahlo, mešana tehnika na platno, 125 x 150 cm, 2000. Life with an artist, Hommage for Frida Kahlo, mixed media on canvas, 125 x 150 cm, 2000. 13


Life with an artist and my heart is broken, meĹĄana tehnika na platno , 160 x 100 cm, 2000. (uniÄ?ena) Life with an artist and my heart is broken, mixed media on canvas, 160 x 100 cm, 2000. (destroyed) 14


Lingam, mešana tehnika na platno, 200 x 85 cm, 2002. Lingam, mixed media on canvas, 200 x 85 cm, 2000. 15


Voda, jajÄ?na tempera na platno, 30 x 30 cm, 2003. Water, egg tempera on canvas, 30 x 30 cm, 2003. 16


Tora bora (bela), olje na platno, 150 x 140 cm, 2002. Tora bora (white), oil on canvas, 150 x 140 cm, 2002. 17


Tora bora, mešana tehnika na platno, 150 x 180 cm, 2002. Tora bora, mixed media on canvas, 150 x 180 cm, 2002. 18


Bitka, jajÄ?na tempera na platno, 150 x 175 cm, 2002. Battle, egg tempera on canvas, 150 x 175 cm, 2002. 19


Kal, mešana tehnika na platno, 80 x 120 cm, 2001. Germ, mixed media on canvas, 80 x 120 cm, 2001. 20


Dotik, jajÄ?na tempera na platno, 90 x 110 cm, 2001. Touch, egg tempera on canvas, 90 x 110 cm, 2001. 21


Zalitje, jajÄ?na tempera na platno, 125 x 170 cm, 2001. Fissure, egg tempera on canvas, 125 x 170 cm, 2001. 22


Obrežje, mešana tehnika na platno, 150 x 165 cm, 2000. Coast, mixed media on canvas, 150 x 165 cm, 2000. 23


Matrix, mešana tehnika na platno, 180 x 230 cm, 2002. Matrix, mixed media on canvas, 180 x 230 cm, 2002. 24


Wild horses are gone, olje na platno, 80 x 100 cm, 2007. Wild horses are gone, oil on canvas, 80 x 100 cm, 2007. 25


Oceanik, mešana tehnika na platno, 125 x 210 cm, 2001. Oceanik, mixed media on canvas, 125 x 210 cm, 2001. 26


Vulkanik, mešana tehnika na platno, 165 x 180 cm, 2001. Vulcanic, mixed media on canvas, 165 x 180 cm, 2001. 27


Brez naslova, jajÄ?na tempera na platno, 100 x 150 cm, 2004. Untitled, egg tempera on canvas, 100 x 150 cm, 2004. 28


Brez naslova, jajÄ?na tempera na platno, 120 x 95 cm, 2004. Untitled, egg tempera on canvas, 120 x 95 cm, 2004. 29


O, my DNA, mešana tehnika na platno, 175 x 100 cm, 2006. O, my DNA, mixed media on canvas, 175 x 100 cm, 2006. 30


Kača spi, mešana tehnika na platno, 120 x 95 cm, 2004. Snake is sleeping, mixed media on canvas, 120 x 95 cm, 2004. 31


Naplavine, mešana tehnika na platno, 200 x 85 cm, 2006. Alluviun, mixed media on canvas, 200 x 85 cm, 2006. 32


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Ponovni pobeg, oglje na papir, 100 x 80 cm, 2005. Escape again, charcoal on paper, 100 x 80 cm, 2005. 34


Svoboda obstoja, oglje na papir, 100 x 80 cm, 2005. Freedom of being, charcoal on paper, 100 x 80 cm, 2005. 35


Ljubosumje nas bo vse pobilo, oglje na papir, 100 x 80 cm, 2005. Jealousy will kill us all, charcoal on paper, 100 x 80 cm, 2005. 36


Zvezdni prah, oglje na papir, 100 x 80 cm, 2005. Stardust, charcoal on paper, 100 x 80 cm, 2005. 37


Brez naslova, mešana tehnika na platno, 175 x 135 cm, 2006. Untitled, mixed media on canvas, 175 x 135 cm, 2006. 38


Brez naslova, mešana tehnika na platno, 150 x 100 cm, 2006. Untitled, mixed media on canvas, 150 x 100 cm, 2006. 39


Kozmik, akvarel na papir, 60 x 80 cm, 2005. Cozmic, watercolour on paper, 60 x 80 cm, 2005. 40


Zmagoviti, napredni, nepremagljivi, jajÄ?na tempera na platno, 180 x 215 cm, 2008. Winning, advanced, invincible, egg tempera on canvas, 180 x 125 cm, 2008. 41


Arkade, mešana tehnika na platno, 155 x 180 cm, 2008. Arcades, mixed media on canvas, 155 x 180 cm, 2008. 42


Rastlinjak, mešana tehnika na platno, 132 x 173 cm, 2008. Greenhouse, mixed media on canvas, 132 x 173 cm, 2008. 43


Brez naslova, mešana tehnika na platno, 140 x 200 cm, 2010. Untitled, mixed media on canvas, 140 x 200 cm, 2010. 44


Brez naslova, mešana tehnika na platno, 140 x 200 cm, 2010. Untitled, mixed media on canvas, 140 x 200 cm, 2010. 45


Brez naslova, mešana tehnika na platno, 40 x 65 cm, 2010. Untitled, mixed media on canvas, 40 x 65 cm, 2010. 46


Mali Bok, mešana tehnika na platno, 25 x 45 cm, 2010. Small Bok, mixed media on canvas, 25 x 45 cm, 2010. 47


Srebot, mešana tehnika na platno, 100 x 100 cm, 2010. Wrapper, mixed media on canvas, 100 x 100 cm, 2010. 48


MoÄ?virje, meĹĄana tehnika na platno, 70 x 100 cm, 2010. Swamp, mixed media on canvas, 70 x 100 cm, 2010. 49


Ujeta, plavajoÄ?a si, meĹĄana tehnika na platno, 100 x 150 cm, 2010. Trapped, while floating, mixed media on canvas, 100 x 150 cm, 2010. 50


Brez naslova, mešana tehnika na platno, 40 x 60 cm, 2010. Untitled, mixed media on canvas, 40 x 60 cm, 2010. 51


Ribje oko, mešana tehnika na platno, 90 x 190 cm, 2010. Fish eye, mixed media on canvas, 90 x 190 cm, 2010. 52


PrepeliÄ?je gnezdo, meĹĄana tehnika na platno, 90 x 200 cm, 2010. Qail's nest, mixed media on canvas, 90 x 200 cm, 2010. 53


Obrežje, končno, mešana tehnika na platno, 108 x 175 cm, 2010. Coast, finally, mixed media on canvas, 108 x 175 cm, 2010. 54


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Feel radioactive, moji ljubljeni lokvanji, jajÄ?na tempera na les, r=37 cm, 2012. Feel radioactive, my beloved waterlilies, egg tempera on canvas, r=37 cm, 2012. 57


PoniĹžnost, jajÄ?na tempera na platno, 125 x 165 cm, 2010. Humility, egg tempera on canvas, 125 x 165 cm, 2010. 58


NeĹžna evgenika, jajÄ?na tempera in pigment na platno, 82 x 65 cm, 2012. Soft eugenica, egg tempera on canvas, 82 x 65 cm, 2012. 59


Sestri, jajÄ?na tempera na platno, 170 x 150 cm, 2010. Sisters, egg tempera on canvas, 170 x 150 cm, 2010. 60


Mejoza (kopalke se umivajo), jajÄ?na tempera na platno, 170 x 172 cm, 2012. Meiosis (bathers are washing themselves), egg tempera on canvas, 170 x 172 cm, 2012. 61


DNA krajina, olje na platno, 35 x 40 cm, 2012. DNA landscape, oil on canvas, 35 x 40 cm, 2012. 62


Anaphase- meiosis, olje, suhi pastel na platno, 35 x 40 cm, 2012. Anaphase- meiosis, oil, pastel on canvas, 35 x 40 cm, 2012. 63


Trojstvo, oglje na papir, 100 x 80 cm, 2012. Trinity, charcoal on paper, 100 x 80 cm, 2012. 64


Catch my DNA fingerprint, oglje na papir, 100 x 80 cm, 2011. Catch my DNA fingerprint, charcoal on paper, 100 x 80 cm, 2012. 65


ÄŒas je naĹĄ gospodar, oglje na papir, 100 x 80 cm, 2013. Time is our master, charcoal on paper, 100 x 80 cm, 2013. 66


Odpri oÄ?i, oglje na papir, 100 x 80 cm, 2013. Open your eyes, charcoal on paper, 100 x 80 cm, 2012. 67


Knitting lesson, jajÄ?na tempera na platno, 180 x 90 cm, 2013. Knitting lesson, egg tempera on canvas, 180 x 90 cm, 2013. 68


Knit the future, jajÄ?na tempera na platno, 180 x 90 cm, 2013. Knit the future, egg tempera on canvas, 180 x 90 cm, 2013. 69


SAMOSTOJNE RAZSTAVE: 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2009 2010 2011 2012

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Postavitev Leteči krožnik, Metelkova mesto, Ljubljana. Meje mladih in demokracije, Klub CD, Cankarjev dom, Ljubljana. Dva, Galerija Stara šola, Komen. Ars ludi fortune, Casino Graz, Graz, Avstrija. Odprimo, Galerija Alkatraz, Metelkova mesto, Ljubljana. Slike 98 -2000, Galerija KC Ivan Napotnik, Velenje. Barvno – bizarno, Razstavišče Hladilnica, Pekarna Magdalenske mreže, Maribor. Neobičajne dvojice, Likovni salon Celje. Exodus Earth, Knjižnica Cirila Kosmača Tolmin. Slike, Mestna galerija Šoštanj. Naplavine, Galerija HEST 35, Ljubljana. Cantadora, the story is told, Galerija Mladinskega centra Velenje. Zgodbe, razstava risb, Galerija Zapor, Koper. Slike, Razstavišče Gorenje, Velenje. Slike, Savinov salon Žalec. Slike, Galerija Ivana Groharja, Škofja Loka. Likovni kritiki izbirajo, Cankarjev dom Ljubljana. Evolving, my dear Water!, Galerija ArsIn, Velenje. Tvoj nedotakljivi podpis, Hodnik, Galerija sodobne umetnosti, Celje. Sea – Scape, morski pejsaži, Atelier 531, Susak, Hrvaška. Tris razstav, Jaz sem tvoj šesti čut, EPK Maribor 2012, Muzej Velenje.


SKUPINSKE RAZSTAVE: 1995 - 1997 - - 1998 - - - 1999 - - 2000 - - - 2001 - 2002 - - - - - - - 2006 - - - 2007 - 2008 - - - - 2009 - - 2010 - - 2011 - 2013 - -

1. Bienale mlajših slovenskih likovnih ustvarjalcev, Hoče pri Mariboru. Kustosova jedilnica, Galerija Alkatraz, Metelkova, Ljubljana. This art is recycled, Svet umetnosti SCCA Ljubljana, Galerija Škuc, Ljubljana. Razkrivajoča navzočnost telesa, študentska dela na papirju, Miklova hiša, Ribnica. 10. slikarska kolonija študentov in diplomantov Akademije za likovno umetnost Ljubljana, Galerija Velenje. Razkrivajoča navzočnost telesa, študentska dela na papirju, Mestna galerija Ljubljana. Slovenija odprta za umetnost, mednarodna likovna delavnica, Sinji vrh nad Ajdovščino. Prvi bienale prave kraške grafike, Stara šola, Komen na Krasu. Crossover 2000, Helm’ s Galerie, Esslingen, Nemčija. Ženske v izložbi, Festival mladih kultur, Kunigunda, Velenje. Art’europeen, Vienne, Francija. 2.S., razstava izbranih študentov magistrskega študija na ALUO, Miklova hiša, Ribnica. Med telesnim, Galerija likovnih umetnosti Slovenj Gradec. Slikarski tabor Gaj nad Mariborom, Razstavni salon Rotovž, Maribor. Bienale slik malega formata, Galerija Ante Trstenjak, Ljutomer. Atelje Clobb z gosti, no.14, Galerija Ivana Groharja, Škofja Loka, (prenos v Galerijo Ante Trstenjak, Ljutomer). Mlado slovensko slikarstvo, Galerija združenja bosanskih likovnih umetnikov, Sarajevo, BiH.  Majski salon, Slovenija 2005, Galerija Hermana Pečariča, Piran. Vstop prost 6, Likovni salon, Celje. IZUM, Vstop prost, Likovni salon, Celje. Slovenska hiša, Bruselj, Belgija. Figura na začetku stoletja, Slovensko društvo likovnih kritikov, Galerija Velenje. Praznine, Galerija sodobne umetnosti, Celje. Avtoportret DLUC, Galerija Velenje. Alojz Zavolovšek in njegovi učenci, Galerija Velenje. Podoba prostora, Galerija Sodobne umetnosti, Celje. Preslikano, DLUM Maribor. Risba na slovenskem II., Mestna galerija Ljubljana; Risba na Slovenskem II., Umetnostna galerija Maribor. 20 let pozneje, razstava kolonije ALUO, Galerija Velenje. Majski salon, Koroška galerija likovnih umetnosti, Slovenj Gradec. Risba na slovenskem II, Muzej suvremene umjetnosti, Zagreb. Part-ea, Likovni salon, Celje. Avtoportret 2, Društvo likovnih umetnikov Celje, Muzej premogovništva Velenje. Majski salon, Gospodarsko razstavišče, Ljubljana. 71


Rojena leta 1974. Po končani gimnaziji leta 1999 diplomira na Akademiji za likovno umetnost v Ljubljani, smer slikarstvo, pri prof. Gustavu Gnamušu in dr. Jožetu Muhoviču, ter nato leta 2002 zaključi magistrski študij na isti ustanovi. Od leta 2002 je samostojna ustvarjalka v kulturi in mladinska likovna pedagoginja, mdr. tudi na Umetniški gimnaziji Velenje. Ukvarja se s klasičnim slikarstvom, poseben poudarek daje risbi kot samostojni izrazni zvrsti. Njena dela se nahajajo v več slovenskih likovnih zbirkah, tako javnih kot zasebnih. Born in 1974 in Slovenj Gradec, Slovenia. In 1999 she graduated at the Academy of Fine Arts in Ljubljana, where she also pursued a post-graduate course (MA) in Painting at the same Academy under the tutelage of Prof. Gustav Gnamuš. She lives and works in Velenje, Slovenia, active as a painter, printmaker and art teacher .

Nataša Tajnik Stupar Podkraj pri Velenju 10j 3320 Velenje, Slovenija m: +386 41 964 516 e: natasa.tajnik@gmail.com i: www.natasatajnikstupar.com

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