recenzije/reviews

 

avgust 2017
Prof. dr. sc. Vinko Srhoj

Recenzija razstave Ples s Mare
Bojan Brecelj & Ivana Petan, fotografija & keramika

Dominikanski samostan sv. Peter Mučenik, Stari Grad, Hvar, Hrvaška, 22.07.-22.08.2017

HODOČAŠĆENJE MEDITERANU „KAKAV JE NEKAD BIO“

Med Land projekt slovenskog umjetnika Bojana Brecelja kojemu se na fotografskoj izložbi u Dominikanskom samostanu sv. Petra Mučenika u Starom Gradu radovima u keramici pridružila njegova suputnica Ivana Petan, mogao bi se nazvati hodočasničkom plovidbom. Baš kao što se nekada prema Svetoj zemlji polazilo iz Venecije oplovljavajući Jadran i pristajući na njegovim razvedenim obalama, tako je i Bojan započeo svoje putovanje tragom Mediterana „kakav je nekada bio“, kao što kaže popularni slogan. Venecija kao početak i motivacijsko izvorište gdje je sa slovenskim umjetnikom Markom Pogačnikom svojedobno fotografirao njezine otvoreno-skrivene detalje u kojima je njegov suputnik pronalazio energijske kriptograme onoga što se ne vidi na prvi „turistički pogled“, dobila je svoj nastavak u jednom još drevnijem gradu, grčkoj koloniji Farosu (Starome Gradu). Projekt završava na Jonskim otocima, dodirujući mitska mjesta poput Odisejeva i Kalipsinog otoka Othonoia, a ono što ih povezuje nije toliko drevni mit koliko drevnost jedne autohtone kulture – masline. Maslina je svojim tisućljetnim životom (znamo da su neke masline tu od biblijskih vremena. Uostalom, nije li i Krist na Maslinskoj gori uzašao u nebo, baš kao što židovska eshatologija iščekuje da će prvi uskrsnuti oni koji su pokopani na njoj), od stabla s otoka Briuna kojega je starost oko 1600 godina, do kaštelanskih „starica“ i onih u Lunu na otoku Pagu, do grčkih otoka, postala suvremenicom mediteranskih kultura. Jednako kao i na istočnoj obali Jadrana koja danas pripada slovensko-hrvatsko-albanskoj morskoj transverzali, tako su i na jonskim otocima „ljudi s maslinama snažno povezani, one su onaj dio porodice koji nikada ne umire“ (B. Brecelj). Maslina na Bojanovim fotografijama antejski izvire iz zemlje i one najoskudnije, a tvrdoća njezina debla, kora koja je poput oklopa, tekstura koja podsjeća na kamen, rodnost koja se mjeri tisućljećem, ovo stablo čini pratiocem čovjeka, bićem s kojim su se generacije familijarizirale i kojemu je jedinom podarena vječnost. Bojanove fotografije nisu napravljene s namjerom da se divimo fotogeničnosti drevnog stabla za turističkog „safarija“ jadransko-jonskim otočjem. One su simboli iskonskog, onoga što ne opstoji u krajoliku i kulturi kao nešto privremeno, nego je dio njegova trajnog izgleda, nečeg poput pradavne forme bez koje je taj krajolik nezamisliv, odnosno neopisiv. Interakcija s čovjekom koji se ovdje ne pojavljuje, podrazumijevana je i dio je opće memorije odnosa i međuzavisnosti bića koja nastanjuju isti prostor. Zato je maslina arhe-stablo, povijest i samoga čovjeka, od čijeg je stabla, kao simbola vjernosti, izrađena Penelopina i Odisjeva bračna ložnica, dok je ulje ploda masline Homer uspoređivao s tekućim zlatom. Keramički radovi Ivane Petan imaju također nešto od arhetipskog u formi koja kao da stoji na počecima oblikovanja, prije negoli je nešto postalo posudom, vazom, uporabnim predmetom općenito. Uostalom, u njezinim valovitim „posudolikim“ oblicima ne možete staviti ni hranu ni tekučinu, jer nemaju dna. To su oblici potencijalne uporabljivosti, prototipovi posuda, ili kako sama autorica kaže, „na samom kraju izostane siguran zaključak ‘to je to’ (…) Napipavam pravi kraj, možda ga ne mogu dosegnuti? I odjednom padne odluka ‘kraj!’, koja bi u nekom drugom trenutku lako mogla biti tek još jedna stanka u obrađivanju“ (I.Petan). No i bez obzira na „nedovršenost“, ili sumnju u dovršenje, Ivanini su oblici jezgrovito svedeni, ne treba im daljnja evolucija, jer su dosegli jednaku organičku praizvornost kao i ona maslina koja nastanjuje mediteranski krajolik kao da je oduvijek tu, u jednostavnoj funkcionalnosti vječnog oblika.

 

avgust 2015
Bojan Brecelj

From the Beginning, ceramic installation, a text from the catalogue
Stari Grad Museum, Stari Grad, island of Hvar, 07.-31.08.2015

FROM THE BEGINNING

Ceramics came into Ivana Petan’s  life when she already was on the path of being a social educator, working with youth. Through intensive work, and in a relatively short amount of time, this social pedagogue became an independent artist. In this period, she finished a three-year study of geomancy with Marko Pogačnik (Ljubljana, SLO) and received a Master’s degree in Philosophy of Visual Culture (Koper, SLO), focusing on the works of Martin Heidegger. All this – Ivana, who aims to contribute to the wholeness of the world, a geomancy worker who understands and cooperates with the intelligence of invisible dimensions of our reality, and a master of sciences who believes in free spirit and responsibility of every human being, each having her/his own space of creation – is holding a vast field, in which the travels and creations of Ivana Petan embody.
Expressed vastness is well reflected in the materials and firing techniques Ivana practices in her work. She uses different kinds of clay; terracotta, stoneware, paper clay, porcelain and paper porcelain, mixing them always in different ways, adding other organic materials. Her use of glazes is in traces or completely absent. She focuses on the clay as clay, on a naked tactility of living matter and its relationship with a touch. Firing techniques mostly practiced in her art installations are so called primitive techniques and raku technique, where real fire and collaboration with natural conditions set the final results. The combination of material and firing embody a breast, a uterus, a whale, an earth, a star, a tree, a seed, a heart in the head, letter signs and other clay touch shapes, to which in the last period Ivana began to add words. Ivana is taking a path of exploring the techniques of creation itself; each time from the beginning.
A new exhibition is a creation of a new being, in a certain space and time, born, tuned and supported by processes rising up from her awareness and her experience of the place and space of current involvement. The arousal of an inspiration, creation of ceramics, positioning of the installation, they all are building blocks of the process of the embodiment, which does not stand still during the exhibition, and constantly changes. The installation lives its own life, in connection and relation with broader spaces of inner and outer cosmos. There is something mutual, as a linking thread, that Ivana Petan has created up till now, in all of her exhibitions and ceramic installations: a creation of beings, each with their own unique mission.
Since an installation lives in a given moment in the visitor’s micro cosmos, it is she/he who acts as a border from which this information-installation receives a new dimension, and broadens even wider with and through each and every visitor. At this border, art as creation and life as such, start to be inseparable, both growing up from one and the same origin. It is the individual experience of every visitor alone that matters for the constant re-creation of the exhibition and as such is unique and irreplaceable a contribution for the embodiment of the subtle world, initiated through the hands of Ivana Petan.
Deeper encounters within the space of Hvar is something quite new for Ivana. Yet for a long time the Mediterranean has been a space for her special care and attention, as well as wishful openness for cooperation. Before Hvar, her creative actions were oriented toward the space of northern Greece and a Venice lagoon, from where sailing into Stari Grad Bay and exhibition opportunity in Stari Grad Museum appeared as a natural flow and continuation of her long-standing tendencies and preferences.
Tulips, opened seeds, and breasts of the earth, are three elements that encircle this exhibition. Essentially, they originate from the trinity of a life cycle: transformation, creative grounding and a new birth. As last themes of Ivana’s interest and evolution, although separated into two installations – tulips in outer space of Stari Grad Museum, breasts of the earth and opened seeds in its inner space – they form one rhythmic ring. With them, Ivana wishes to make visible a movement, a connection, or better, to show invisible but inseparable connectedness of dimensions which normally stand isolated and alone, one against another, most of the time in opposition.
The important appeal of all of Ivana’s installations, addressing the visitor, is not to stop and stand before the installation, as just visual observer with just a visual experience, but to take a challenge of one step forward, into the soul of the installation, and to take a liberty of a tactile, bodily experience of its elements. Her exhibitions are interwoven with invisible invitations to the freedom of touch, or as she puts it, “the clay is a tactile matter, and only through the touch, its essence is fully felt and its words are fully heard”. This silent call stays more than true for this exhibition as well.

 

april 2014
Ina Širca, umetnostna zgodovinarka

Iz recenzije razstave
IVANA PETAN – prostori moje notranjosti
NATAŠA SEDEJ – poročne obleke
Mala galerija Mira Kranjca, Kosovelov dom Sežana. 11.april-11.maj 2014
Ivana Petan je svojo prostorsko postavitev poimenovala Prostori moje notranjosti. Nataša sedej Poročne obleke. Obe avtorici imata prepoznaven likovni izraz, razvito dikcijo v tridimenzionalni materialnosti gline, a v tokratnem prostoru se posamično in skupno uglašujeta na prostor sam, na širši genius loci in na novo likovno delo, novo telo, ki bo v polnosti izrazilo njuno poetiko in vključilo nas, obiskovalce. Instalacije so po svoji naravnanosti prav take, želijo nas vzpodbuditi, vključiti k aktivnemu odnosu do izraženih vsebin.
Postavitev prostori moje notranjosti je zgrajena iz na tla položenih ploščic in v prostoru izobešenih src. Občutenje je dvojno, primarna moč gline in ognja je izražena v razpokah in s sajami zaznamovanih ploščah ter visoka stiliziranost, abstrahiranje in tehnična dovršenost v izvedbi src. Oboje hotena in vodena postopka in končna efekta sta del avtoričine narativnosti. Oblika src je hkrati antropomorfna forma, z notranjo dinamiko geometrije v številu osem. Reverz stran njihovih teles je nosilka za v glino odtisnjene žige spirale, tulipana, zvezde, ki so intuitivna in osebna znakovnost. Avtorica poudarja pomembnost ’tistega zadaj, kar ne vidimo, a nas pelje naprej.’ Čeprav napravljena s pomočjo kalupa, so srca v procesu brušenja z brusilnimi papirji v končnem izrazu individualizirana.
Izkušnja iz meditativnih uvidov je izražena v geomantičnem pristopu, ki avtorico vodi ne samo v umetniškem izražanju, temveč tudi v življenju. Srca je poimenovala ‘srca v glavi’ in s postavitvijo želi doseči vtis levitiranja in poudariti zračni element. V razviti osebni ikonografiji avtorica govori o ‘srcu, zemlji in krilih’ kot treh simbolih za prostor. Hkrati raziskuje emocionalno inteligenco in kvalitete sočutja ter človeški izvor v vodi. Plošče so v funkciji rezonantnih teles, kot ‘prostor zemlje naj rezonirajo s primarnimi silami zemlje, elementom zemlje in ognja’. Povzdignjena srca, kot v premagovanju gravitacije, so v postavitvi namenjena simbolnemu ‘višjemu nivoju, jasnini prisotnosti in praznosti’. Težnja v postavitvi izraža ‘izvor duha, pripadnost nebeškemu izvoru’.
Sodoben geomantičen pristop je nadaljevanje mogočne tradicije, ne samo konceptualne umetnosti, instalacij in postavitev, akcij v naravi, značilnih umetnostnih praks, porojenih v prejšnjem stoletju v šestdesetih in sedemdesetih letih, tok nas pelje nazaj do antične ikonografije elementov in votivnih darov, ko so udeleženci obredja, zasebno ali skupinsko vodeni, bili v neposrednoem razgovoru s stvarstvom. Tako delo, ki ga doživljamo sedaj sicer v galerijskem prostoru, nosi značinosti obojega, konceptualno premiso in šamanistično dejanje.
[…]
from the critique of the exhibition
IVANA PETAN – spaces of my interior
NATAŠA SEDEJ – wedding gowns
Mala galerija Mira Kranjca, Kosovelov dom Sežana. 11.april-11.maj 2014
Spaces of my Interior is the title which Ivana Petan gave to her spatial installation. Nataša Sedej entitled hers Wedding Gowns. Both artists have distinctive visual expressions and well developed dictions in the tree-dimensional materiality of clay and in addition to this, in this exhibition, they are individually and together attuning to the place itself, to the wider genius loci and to the new artwork, a new body, which will fully express their poetics and include us, the visitors. The installations have exactly that orientation: they wish to encourage us, to enable our participation in the contents that are expressed.
The installation “Spaces of my Interior” is composed of tiles on the floor and the hearts in the airy space. It triggers a dual perception, the primary power of clay and fire is evident in the plates characterized with cracks and soot, while a highly stylized, abstract and technical perfection can be seen in the creation of the hearts. Both intended and guided procedures and final effects are part of the author’s narrative. The shape of the hearts is anthropomorphic and at the same time, their form has an inner dynamic of geometry in the number of eight. The reverse side of their bodies is the carrier for the stamps of a spiral, a tulip or a star, pressed into the clay, as an intuitive and personal semantics. The author underlines the importance of “what is behind, what cannot be seen, but is leading us forward”. Although made with a mould, the hearts become individualized in their final appearance by the process of polishing them with sandpapers and stones.
The experience from meditative insights is expressed in the geomantic approach, which is guiding the author not only in her artistic expression, but also in her life. She named them “hearts inside the head” and with their placing she wished to achieve the impression of levitation and emphasize the element of air. In the personal iconography which she developed, the author is speaking about “the heart, the Earth and the wings” as three symbols of space. At the same time, she is exploring emotional intelligence and the qualities of compassion, as well as the human origin in water. The tiles have the function of resonance bodies, as “a space of the Earth they shall resonate with the primary forces of the Earth, with the elements of earth and fire”. The elevated hearts seem to be defying gravity and in this installation they have the role, dedicated to the symbolic “higher plane, the clarity of presence and emptiness”.  The emphasis of the hearts in the installation is the “origin of spirit, a sense of belonging to the heavenly source”.
The modern geomantic approach is a continuation of a widespread tradition, not only in conceptual art, installation, performance in nature and characteristic artistic practices from the nineteen-sixties and seventies, its stream takes us back to the iconography in antiquity and to votive offerings, given by the participants of private or group rituals, in which they were in direct communion with creation. Such artworks, nowadays experienced in gallery spaces, bear the characteristics of both, of a conceptual premise as well as of a shamanistic act.
[…]
Ina Širca, Art Historian
(An excerpt from the critique of the exhibition by Ivana Petan: Spaces of my Interior and Nataša Sedej: Wedding Gowns, Mala galerija Mira Kranjca, Kosovelov dom Sežana. April – May 2014)

 

maj 2012
Ina Širca, umetnostna zgodovinarka

Iz kataloga razstave Ivane Petan: Semena, Mestna knjižnica Grosuplje, maj-junij 2012

Semena

Semena, podobna po obliki, a različna v detajlih vrezane risbe in sledi ognjenega delovanja, so nastajala vsakič znova, v vodenem gibu, v navdihu. Ustvarjalka je dajala snovi obliko, pomen in sporočilnost. Medij keramike ji omogača skozi procese gnetenja, odvzemanja in dodajanja, žganja in končne postavitve v prostoru avtentičen, neposreden in prvinski nagovor. Pri tem se v vsebinskem smislu, v upodabljanju notranje kvalitete – vitalne življenjske moči, posredno vpenja v sodobne konceptualistične prakse, in tudi preko ekologije in geomantije govori o bogati ikonografiji sejalca in semena.
Oblikovanje semena ne temelji v realistični upodobitvi ali mimikriji. Forme so zadržane, vase zaprte, odmaknjene v svoj svet notranjega potenciala in tako utelešajo nekaj kar je lahko speče, negovano, povsem na začetku ciklusa. Značilna je geometrijska stilizacija, a forma mandorle je sidrišče asociativnega in simbolnega. Dela so v razstavnem prostoru značilno postavljena v množici, skupini, družini. Ponavljanje in variiranje motiva semena je izbira avtorskega subtilnega pogleda.
Ivana Petan uporablja tradicionalno tehniko gradnje v glini, votlenje glinene krogle, ki jo zapira v željeno formo, vanjo vrezuje znakovnost in jo nato polira. Končno izdelke prepusti ognju. Rezultati žganja so v določeni meri neznanka. Narava dela je torej preplet idejnega, vodenega dela in presenečenja. Glina je edini material, ki je resnično plastičen, ki se ga lahko poljubno oblikuje, po žganju pa pridobi na trdnosti.
Prvinski elementi narave – zemlje, vode, ognja in zraka – pod rokami oblikovalke utelesijo skoraj neverjetne metamorfozne lastnosti gline. Končna željena forma je seme. To keramično seme je postalo, v jukstapoziciji trdote resničnosti in mehkobi potenciala, nosilec sporočilnosti. ˝Taktilni obrazi zemlje in prostora˝ je avtoričino zbirno poimenovanje njenega ustvarjanja in kaže na pozornost do tega, kaj prostor je. Umetnost živi kot možen komunikacijski pristop do prostora, za njo samo in obiskovalce razstave.
Skozi geomantični princip zrcaljenja ustvarjalka vztraja v introspekciji in zbranosti na dogajanje v lastni notranjosti, ki postajata izvor ekspresije. Ivana Petan to hkrati umešča v okvir univerzalnosti. Vstopamo v dani razstavni prostor in hkrati v notranje občutenje prostora. Preko razstave je genius loci nagovorjen v vrtu zavesti, v vrtu svete geometrije. Prav jezik simbolnega oblikuje možna razumevanja izbrane predmetnosti, ki je hkrati osebna in obče interpretativna.
Keramika spremlja človeštvo kot izraz evolucije socialnega in osebnega, umetniškega izraza. Ustvarjalka tako postavlja vprašanja o spoštovanju lastnih potencialov, vpetih v staro in novo. Deli modrost o semenu, ki rodi obilo sadu, če umrje in nas kot moderna Kora vpelje v iniciacijski kult. Čustvena teža našega življenja je prepoznana kot kreativna priložnost za nove odločitve in novo delovanje. Smo v vrtu drugega dne, nastajanja sveta, ki se poraja iz zaupanja. Dotik gline. Ne več praprotno, gorčično ali sezamovo seme. Seme je metafora za kvalitete in posebna soočenja našega časa, ko zremo v prihodnost. Keramika je postala tisti neulovljiv, a občutljiv prostor med polnim in praznim.
from the catalogue accompanying the exhibition of Ivana Petan at Mestna knjižnica Grosuplje, may-june 2012

Seeds

Seeds, similar in form, but different in details of engraved drawings and of the traces left by fire, have been taking shape anew each time, in a guided movement, upon inspiration. The author gave form to matter, she gave it meaning and an informative aspect. The medium of ceramics, by its procedures of kneading, extracting, adding, firing and final placement in a space, enables her to address us in an authentic, direct and primal manner. In doing so, from the point of view of content, when she depicts the inner quality – the vital life force – she interweaves it with contemporary conceptualist practices and also with the help of ecology and geomancy, she speaks of the rich iconography of the sower and the seed.
The shaping of the seed is not based on a realistic depiction or on mimicry. Forms are retained, enclosed in themselves, enraptured into their worlds of the inner potential and in that way, they embody hope that can be sleeping, cared for, as something that is in the absolute beginning of a cycle. Characteristic for them is the geometric stylisation, but the form of the mandorla is an anchoring point for associative and symbolic meanings. In the exhibition space, these works of art are typically placed into crowds, groups, families. The repetition and variation of the seed motive is a conscious choice of the subtle authorial gaze.
Ivana Petan makes use of the traditional technique of clay shaping, that is hollowing out clay a ball, which is closed again into the desired form, then polished and incised with signs. Finally, the works of art are surrendered to fire. Results of their firing are to a certain extent unknown. The nature of the work is therefore an interweaving of a conceptual, guided approach and of surprise. Clay is the only material that is truly plastic, that can be shaped freely and acquires solidity after firing.
The primal elements of nature – earth, water, fire and air – in the hands of the author embody the almost incredible metamorphic properties of clay. Their desired final form is the seed. This ceramic seed, in juxtaposition to reality’s solidity and the softness of its potential, has become a bearer of messages. The “tactile faces of Earth and spaces” is the denomination chosen by the author for her creative work and it underlines the attentiveness towards what spaces are. Art lives as a possible approach of communicating with spaces, for the author as well as for visitors of the exhibition.
Through the geomantic principle of mirroring, the author persists in introspection and in concentration on what is going on inside herself, which then becomes the source of expression. At the same time, Ivana Petan places all this in the context of universality. We are entering the exhibition space and simultaneously also our inner sensation of the place. With the help of the exhibition, the Genius Loci is addressed in the garden of consciousness, in the garden of sacred geometry. Precisely the symbolic language shapes our possible understanding of a chosen figuration, which is at the same time personal and interpretative in a general sense.
Ceramics has been accompanying humanity as an expression of the evolving social and personal artistic creativity. Therefore, the author raises questions of respect for one’s own potentials, intertwined with the old and the new. She shares with us the wisdom of the seed that bears lots of fruit after it has died and, as a modern Kore, has shown us the way into an initiation cult. The emotional weight of our lives is recognized as a creative opportunity for new decisions and new actions. We are inside the garden of another day, of the emerging world that is arising out of trust. The touch of clay. Not the seed of fern, mustard of sesame any more. The seed is a metaphor for qualities and special encounters of our time, when we are gazing into the future. Ceramics has become that elusive, sensitive space between the full and the empty.
Ina Širca, Art Historian
Translated by Urša Vidic

 

marec 2011
Marko Pogačnik, akademski kipar

Keramična instalacija Ivane Petan

So razstave, ki se jih da videti v vzvratnem ogledalu. Tako kot udarec na gong, čeprav rahel, zveni še naprej potem, ko je dotik že mimo, tako sta prostor in čas sposobna ohraniti spomin na dejanje, ki se je zgodilo v njegovi lupini, čeprav je dejansko že minilo.
V mislih imam keramično instalacijo Ivane Petan, prvotno postavljeno v atriju Mestne hiše v Ljubljani, točno leto dni kasneje, med 24. marcem in 16. aprilom 2011 pa v galeriji Tir, delujoči v okviru alternativnega kulturnega centra Mostovna v Solkanu. Sestavljena je iz več sto keramičnih kosov položenih na videz brez reda na podu galerije. Umetnica jih je po lastni pripovedi prestavljala toliko časa, dokler ni občutila, da je njihova kompozicija natanko uglašena s prostorom, kjer je postavljena. Kdor se spominja postavitve v atriju Mestne hiše ve, da je kompozicija tokrat povsem drugačna čeprav gre za identično sporočilo.
O sporočilu nazorno govori vabilo k odprtju ljubljanske razstave. Na njem je napisana enačba med »žensko kvaliteto« in »kvaliteto krogle«. Poleg pa vidimo posnetek keramične krogle sestavljene iz dveh nanjo narisanih polovic; iz ženske dojke zgoraj in posodice spodaj. Krogla nastane, če se dojka kot simbol dajanja in posoda kot simbol sprejemanja združita v zaokroženo celoto.
Te pomenljive simbole, ki nedvomno predstavljajo slavospev ženski razsežnosti bivanja, je umetnica prevedla v številne med seboj polarizirane keramične enote. Polovico jih ima obliko dojk najrazličnejših profilov, druga polovica pa obliko kot papir tankih posodic. Drugi nivo minus-plus (jin-jang) polarizacije umetnica doseže tako, da polovico keramičnih kosov izdela iz črne, drugo polovico iz bele keramike.
Vendar nas počelo polarizacije ne sme zavesti tako daleč, da bi začeli misliti v okviru moško-ženskih nasprotij. Pri instalaciji Ivane Petan se jin-jang (žensko-moška) polarizacija dogaja izključno znotraj ženske polovice sveta. Oboje, dojka in posoda maternice sta ženska simbola. In vendar se med njima zabliska napetost, ki običajno spremlja trenje med obema spoloma. Ta ista napetost pa je, paradoksalno, vsebovana znotraj vsakega od obeh polov, tako znotraj vsake ženske, kot znotraj moškega.
Vendar polarizacija vsebovana v instalaciji Ivane Petan ni sama sebi namen. Predstavlja orodje, s katerim se keramičarka loti interakcije z danim prostorom. S pomočjo opisanih napetosti med obema nasprotnima poloma namreč zbudi energije prostora, da se začno gibati – vendar ne vsevprek. Vzorec, ki ga keramični elementi sestavljajo, namreč deluje kot urejajoči princip v prostoru. Ta postopno doseže, da se energije prostora samogibno uredijo v določen pretok. Ker imamo v primeru ljubljanskega Atrija in solkanske galerije Tir opraviti z dvema različnima koščkoma Zemlje, ju je bilo treba nagovoriti z drugačno kompozicijo, če je Petanova želela da zazvenita s svojimi lastnimi silami.
Če naj opišem svoje dojetje, je videti tako, kot da bi kompozicija – umetnica jo je v pogovoru označila za »kozmogram« – potegnila iz tal steber Zemljine svetlobe in ga razširila v prostoru, pa še onkraj njegovih sten v obliki permanentnega valovanja. V tem smislu se umetniško delo izkaže kot organ oživljanja prostora. Oživljajoče sile, spodbujene v njihovem pretoku, pa so ženske narave. Ženska z ženskimi orodji spodbudi žensko k intenzivnejši navzočnosti. Opla, katera pa je ta tretja ženska? Zemlja vendar! Vendar ne samo Zemljina krogla (sestavljena iz dojke in posodice), temveč tudi Zemlja, ki nas vse objema, prej ljubimka kot mati.

 

marec 2011
Katarina Brešan, univ.dipl.um.zg.

Približevanje

Glina je za Ivano Petan tišina, ki šepeta o človeku, o življenju. Snov, ki se rojeva iz zemlje in se preko gnetenja njenih rok spreminja v nove oblike, postane način približevanja sebi, sočloveku, naravi. Izraža njeno željo po odkrivanju vsaj majhnega koščka tistega bistva, iz katerega vse izvira in kamor se vse vrača. Glina se tako spremeni v magični element, eden izmed možnih načinov izražanja, ki avtorici omogoča manifestiranje sebe in obenem vsega živečega. Postane sredstvo za spoznavanje in grajenje lastnega telesa v odnosu do prostora, do praznine. Praznine, ki v sebi nosi potencial, vse neskončne možnosti in razsežnosti.
Skozi svoje delo ohranja Ivana Petan trdno vez z živo naravo. V njej je navdih, iz nje izvira glina, ki je človeku od nekdaj lajšala življenje in poživljala domišljijo. Glina nosi v sebi znanja in davne preteklosti, ohranja spomin na primitivne načine žganja v jami, z ognjem in dimom, ki živijo naprej tudi z Ivanimim delom. Njenim stvaritvam pa dodajajo vrednost in kvaliteto.
Narava uči srčnosti, ljubezni in topline. Abstrahirane, navidez krhke vegetabilne oblike, Lasje zemlje, ki so jih navdihnila drevesa in rastline, izražajo vso materinsko nežnost narave, njeno nepopisno moč in modrost. Ustvarjalka se pri tem sprašuje ali smo vsa živa bitja, tudi ljudje, globoko v sebi, odraz te moči. Mogoče pa drevesa, s svojim tihim bivanjem, nosijo odgovor. Treba jim je prusluhniti.
Narava opominja človeka na srčno inteligenco, ki vidi onkraj razuma, vidi ceoto sveta in bi morala vsakega posameznika voditi v življenju, v vseh odnosih in odločitvah. Srce in glava morata biti eno, zato ju skuša ustvarjalka zgnesti v enotno formo, kjer ju ni mogoče ločiti.
Na poti odkrivanja človeka se sprašuje tudi o njegovem odnosu med zunanjim in noranjim. Okrogle lupine z majhno odprtino, Kukalnice, omogočajo pogled v nevidno notranjost. Preprosta gesta, približanje očesa, lahko razkrije njihov intimni, skriti svet. Notranjost se tako preplete z zunanjostjo, opazovalec in opazovani vzpostavita odnos, kjer vplivata eden na drugega. Kdo potem koga opazuje? Kaj se sploh razkrije, kaj ostane prikrito? Kolikšen del sebe lahko človek resnično pokaže? Koliko je prosojen?
Okrogle oblike se pojavljajo tudi v instalaciji, kjer so kot maternice in prsi esenca ženskega. Tu so nosilke drugačnega pomena, drugačnega a vendar enakega. Dve polovici sta združeni v celoto, ki postane simbol dajanja in prejemanja. V njihovi plodnosti je izvor življenja. Z njimi se vse začenja, biva in sobiva kot del nerazdružljive celote. Instalacija je sestavljena v živ organizem, vanjo je treba vstopiti, se je dotakniti, ko doživljati. V njej je prostor umiritve, kjer lahko človek odpre svoje srce in začuti sebe.
(ob razstavi Ivane Petan: Približevanje, Galerija Tir, Solkan, marec-april 2011)

 

junij 2009
Marko Pogačnik, akademski kipar

Zemeljsko pogojena keramika Ivane Petan

Da je glina in posledično keramika zemeljskega izvora, nihče ne postavlja pod vprašaj. Vprašanje pa je, če se keramik ali keramičarka tega zaveda in koliko svojim izdelkom dovoljuje, da pripovedujejo o zemeljskem izvoru gline in o svoji istovetnosti z zemljo. Keramika Ivane Petan je prav takšne vrste, da svojega izvora ne skriva. Nasprotno, skuša zemlji omogočiti, da se preobrazi v najbolj prefinjene oblike, ne da bi morala zato zanikati svojo bit.
Tu se pokaže druga vrednota, katero pri delu Ivane Petan cenim. Tudi če so izdelki uporabne narave – kar je za keramiko nekaj naravnega – so hkrati tudi umetniška dela, saj so priče zemljine zemeljskosti. Sporočajo, občutljive odtenke zemeljske narave in tako človeku posredno omogočajo ponoven stik z bitjem Zemlje. Lahko bi rekel, da človeka, ki jih občuduje, nehote zvabijo v krog zemeljskih kvalitet in v bližino Zemeljskega bistva. Tako se keramični predmeti prelevijo v likovne objekte. Ob njihovem razstavljanju, stik z bližino Zemeljskega bistva ni več pridržan samo uporabniku predmeta, temveč postane obča izkušnja, dostopna vsakomur.
Od tu je še korak do delavnic, ki jih prireja Ivana Petan. Te posameznikom omogočajo priti v kreativni stik z zemeljsko snovjo samo – ne samo na osnovi pogleda in rabe, temveč tudi v procesu nastajanja keramičnega predmeta.
Tako se avtoričin opus zaokroža v obliki delovanja na treh ravneh v razponu med uporabnostjo, postavljanjem keramičnih instalacij in izkušnjo procesa nastajanja v obliki delavnic. Tak način delovanja pa je nadvse dragocen v trenutku, ko je človek ob vsestranski ekološki krizi postavljen pred izziv ponovno se povezati z bistvom Zemlje in z lastno zemeljsko naravo.
 
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