| Popis: |
Diplomsko delo obravnava katoliški sakralni prostor v povezavi z umetnostjo in tekstilom. Sakralni prostor je poseben kraj že od samega začetka človeškega bivanja. Najpomembnejša namembnost katoliškega sakralnega prostora je obhajanje evharistije. Izbran sakralni prostor leži na zadnjem griču Slovenskih goric, na Humu pri Ormožu. Cerkev sv. Janeza Krstnika predstavlja glavni navdih za eksperimentalni del diplomskega dela. Sakralna umetnost je pripomoček, s katerim vernik lažje razume in se poglobi v božjo besedo. Skozi zgodovino so se tvorili različni likovni slogi, ki so zaznamovali katoliški sakralni prostor. Sakralna kulturna dediščina, za katero je Cerkev od nekdaj skrbela in jo ohranjala, je v Sloveniji izjemno bogata in slikovita. Na našem prostoru najdemo okrog 2400 cerkva. Tekstil se v sakralnem prostoru uporablja predvsem za dekorativne namene, z njim toplimo prostor. Pomembno vlogo pri tekstilnih instalacijah ima svetloba, saj nam tekstil ponuja veliko možnosti svetlobne manipulacije. Koncept, ki ga kot avtorica tekstilne umestitve v sakralni prostor želim sporočiti obiskovalcem je zavedanje nevidnih stvari, ki krepijo posameznika ter posledično družbo. V procesu raziskovanja so name naredili večji vpliv umetniki, ki se v svojem delu ukvarjajo s svetlobo, barvo in gibanjem. Vse predelano v teoretičnem delu je preneseno v eksperimentalni del, ki je razdeljen na tri dele: Cikel svetlobe, Genezo in Apokalipso. Vsi so med seboj povezani. Prvi del sestavlja zbirka fotografij, s katerimi sem prikazala prezrte detajle v cerkvi, ki sem jih zagledala šele, ko so jih osvetlili žarki svetlobe, ki ob sončnih dneh prodirajo v cerkveno ladjo. V soju svetlobe sem zagledala tudi kot las tanke niti pajkovih mrež, ki so me spominjale na tekstilne preje. Ko sem v drugem delu začela poglobljeno razmišljati o življenju in povezovanju različnih vsebin, so me te komaj vidne nitne mojstrovine, umetelno razpete čez prostor, napeljale na posebno vezeninsko tekstilno tehniko, s katero sem izvedla serijo vezenin na surovih, pravkar odžaganih lesenih temeljnikih. Izdelke sem na različne načine umeščala v sakralni prostor, zelo dobro pa so se izkazale tudi fotografske interpretacije le-teh, ki se dajo uporabiti kot samostojen umetniški opus ali kot grafična spremljava župnijskih publikacij. Od ploskovnih nitnih struktur, ki so jih tvorile plastovita žarčenja raznobarvnih nitnih nanosov drug preko drugega, me je ustvarjalna misel vodila k še bolj prostorskim nitnim tvorbam, tako da sem v tretjem delu dejansko izvedla večjo s kiparsko tekstilno umestitev v izbranem sakralnem prostoru cerkve sv. Janeza Krstnika na Humu pri Ormožu, ki je v vsej svoji pojavnosti, barvi in obliki zaživela v sozvočju z arhitekturo in opremo cerkve. This thesis deals with the Catholic sacral space in relation to art and textiles. The sacral space has been a special place from the very beginning of human existence. The most important purpose of the Catholic sacral space is to celebrate the Eucharist. The chosen sacral space is located on the last hill of Slovenske gorice, in Hum pri Ormožu. Church of St. John the Baptist is the main inspiration for the experimental part of this thesis. Sacred art is a tool by means of which the believer can more easily and in greater depth understand the word of God. Throughout history, various artistic styles have been formed that have characterized the Catholic sacral space. The sacral cultural heritage that the Church has always cared for and preserved is extremely rich and picturesque in Slovenia. In our area we can find around 2400 churches. Textiles are used in the sacral space mainly for decorative purposes, serving to warm up the space. Light plays an important role in textile installations, as textiles offer many possibilities for light manipulation. The concept that I, as the author of the installation with the artistic subject of textile placement in the sacral space, want to convey to visitors is the awareness of the invisible things that empower the individual and consequently the society. In the process of exploration, artists that work with light, colour and movement have had the biggest influence on me. The ideas processed in the theoretical part are transferred into practice in the experimental part, which is divided into three parts: the Light Cycle, Genesis, and the Apocalypse. These are all interconnected. The first part consists of a collection of photographs, which show the overlooked details in the church, which I saw only when they were illuminated by rays of light that were coming through the nave on sunny days. In the glimmer of light, I also saw threads of spider webs as thin as hairs that reminded me of textile yarns. In the second part, when I began to think more deeply about life and the connections between different contents, these barely visible thread masterpieces, skilfully spread across the space, led me to a special embroidery textile technique, with which I carried out a series of embroidery on raw wooden foundations that had just been sawed. I placed the products in various positions in the sacral space. Photographic interpretations of those, which can be used as a stand-alone artistic oeuvre or as a graphical accompaniment to parish publications, also turned out very well. From the planar thread structures formed by the layered rays of multicolored threads across one another, my creative thought led me to even more spatial thread formations, so that in the third part I actually made a larger one with a sculptural textile placement in the chosen sacral space of the church of St. John the Baptist in Hum pri Ormožu, which in its appearance, color and shape came to life in harmony with the architecture and equipment of the church. |
