“Ustvarjam večplasten prostor kot odgovor na senzibilno zaznavanje sveta.”

 
 

“I am creating a space of dichotomy as an answer to the sensibilities of perception in the environment.”

Izjava avtorice

V svoji praksi izhajam iz materiala kot izhodiščne sile – tiste, ki ne le določa potek ustvarjanja, temveč ga vodi, usmerja in pogosto presega moje lastne namere. Samo sebe v tem odnosu razumem kot orodje, ki se odziva na njegove lastnosti, njegove impulze in učinke. Material postane aktiven sogovornik, s katerim nenehno preverjam meje. Zavestno vstopam v dialog s tradicijami medija, z njihovimi omejitvami, predsodki in pričakovanji. Te tradicije uporabljam kot konceptualno izhodišče, ki mi omogoča prestopanje lastnih meja in odpira prostor reinterpretacije. Materialna fokusiranost postane pot do neskončnega rekontekstualiziranja, do širjenja interpretacij in do vzpostavljanja vedno novih vezi med obliko, procesom in prostorom. Proces ustvarjanja zame predstavlja ciklični tok: vedno se vračamo na isto točko, a vsakič je drugačna.

Preizprašujem zakoreninjene predstave o tem, kaj naj bi material bil, kakšne oblike naj bi privzemal, katere tradicije naj bi ponavljal. Končna oblika je zato vedno odvisna od notranjega procesa v materialu. Ta proces lahko vodi v performativne situacije, prostorske instalacije ali bolj konvencionalno razumljene skulpturne forme. V procesu vračanja k njegovi “primarni” obliki iščem načine, kako pustiti, da ostane čim bliže svoji esenci. V tem kontekstu se destrukcija zame pogosto izkaže za pot do konstrukcije, vselej kot sestavni del procesa, in ne kot njegov konec.

V delu posledično sledim tudi nematerialnim lastnostim – senci, zvoku, odsotnosti objekta – kot spremljevalnim učinkom procesa, ki pogosto odločajo in usmerjajo, v katero smer se delo nadaljuje. Material dojemam kot živ, nenehno spreminjajoč se organizem, ki nikoli povsem ne doseže končne forme; končnost je zame vselej vprašljiva in nikoli zares dosegljiva, istočasno pa v soodvisnem odnosu s prostorom, v katerega je umeščena. Prostor pogosto postane sprožilec, ki razjasni smer serije ali razkrije njeno notranjo logiko.

 
 

Artist’s Statement

The starting point of my practice is material as a driving force – one that not only determines the course of creation but guides, directs, and often surpasses my own intentions. In this relationship I understand myself as an instrument that responds to the material’s properties, its reactions, and effects. The material becomes an active interlocutor with which I continually test boundaries. I consciously initiate dialogue with the traditions governing the medium, with their limitations, prejudices, and expectations. I use these traditions as a conceptual starting point that allows me to overstep my own boundaries and open up a space for reinterpretation. Focusing on the material leads to infinite recontextualization, to expanding interpretations, and to the creation of ever-new connections between form, process, and space. I see the creative process as a cyclical flow: we always return to the same point, but each time it is different, always changing.

I question entrenched ideas about what a material should be, what shapes it should take, which traditions it should reproduce. The final form is thus always dependent on the internal process within the material. That process can lead to performative situations, spatial installations, or more conventionally understood sculptural forms. In the process of returning to its “primary” form, I look for ways to let it remain as close to its essence as possible. In this context, destruction often appears to me as a path to construction, always as an integral part of the process rather than its end.

Consequently, I also attend to the immaterial qualities as accompanying effects of the process – shadow, sound, the absence of the object – which often determine the direction of the work’s further development. I see material as a living organism that constantly changes, never fully reaching a final form: for me, finality is always questionable and never truly attainable, while simultaneously being interdependent with the space in which it is situated. Space often becomes a trigger that clarifies the direction of a series or reveals its internal logic.

Življenjepis

Kristina Rutar (1989, Tolmin) je vizualna umetnica, ki deluje na področju kiparstva in keramike. Leta 2013 je diplomirala iz keramike na Pedagoški fakulteti Univerze v Ljubljani, leta 2015 pa zaključila izobraževanje v programu Interdisciplinarne grafike na ASP Eugeniusza Gepperta v Vroclavu na Poljskem.

V svoji umetniški praksi se osredotoča na raziskovanje materialnosti, procesualnosti in transformacij znotraj medija, pri čemer keramiko razume kot odprt in eksperimentalen izrazni prostor.

Svoja dela redno predstavlja na samostojnih in skupinskih razstavah v Sloveniji in tujini. Med vidnejše samostojne razstave sodita Ritual sence (Galerija Velenje, 2022) in O izvoru vrst (Lapidarij Galerije Božidar Jakac, Kostanjevica na Krki, 2018). Sodelovala je tudi na pomembnih mednarodnih razstavnih projektih, kot so Future of ceramics, Jingdezhen International Ceramic Art Biennale (Jingdezhen Ceramic University Art Museum, Kitajska, 2026), Blanc de Chine International Ceramics Art Award (Winland Center, Hangzhou, Kitajska, 2023) in 61. Premio Faenza (MIC Faenza, Italija, 2020).

Za svoje delo je prejela več nagrad in priznanj, njena dela pa so vključena v javne in zasebne zbirke doma in v tujini.

Živi in ustvarja v Ljubljani, kjer deluje kot docentka na Akademiji za likovno umetnost in oblikovanje Univerze v Ljubljani, na smeri Unikatno oblikovanje (keramika). Je članica Mednarodne akademije za keramiko (International Academy of Ceramics – AIC / IAC) in Zveze društev slovenskih likovnih umetnikov (ZDSLU).

 

Short biography

Kristina Rutar (1989, Tolmin) is a visual artist working in sculpture and ceramics. She earned a degree in ceramics from the Faculty of Education, University of Ljubljana in 2013 and completed studies in Interdisciplinary Printmaking at the Eugeniusz Geppert Academy of Art and Design in Wrocław, Poland in 2015.

Her practice focuses on exploring materiality, processuality, and transformations within the medium, wherein she approaches ceramics as an open and experimental field of expression.

Rutar exhibits regularly, with solo and group shows in Slovenia and abroad. Notable solo exhibitions include Ritual of Shadow (Ritual sence, Galerija Velenje, 2022) and On the Origin of Species (O izvoru vrst, Lapidarium of the Božidar Jakac Gallery, Kostanjevica na Krki, 2018). She has also participated in important international projects such as Future of Ceramics, Jingdezhen International Ceramic Art Biennale (Jingdezhen Ceramic University Art Museum, China, 2026), Blanc de Chine International Ceramics Art Award (Winland Center, Hangzhou, China, 2023), and the 61st Premio Faenza (MIC Faenza, Italy, 2020).

Rutar’s work has received several awards and recognitions and is part of various public and private collections at home and abroad.

She lives and works in Ljubljana, where she is a lecturer at the Academy of Fine Arts and Design, University of Ljubljana, teaching in the Applied Arts (Ceramics) programme. She is a member of the International Academy of Ceramics (AIC/IAC) and the Slovenian Association of Fine Arts Societies (Zveza društev slovenskih likovnih umetnikov – ZDSLU).

Razstave in dosežki

Exhibitions and Awards