Use of wax in fine arts

Magistrska naloga v prvem delu predstavlja pomen voska kot likovnega materiala v zgodovini, njegovo vlogo pri obrednih slovesnostih v preteklosti, lastnosti voska kot kiparskega materiala in njegove možnosti vključitve v srednješolski vzgojno-izobraževalni proces pri likovni umetnosti. Z deli italijanskih in slovenskih kiparjev je kronološko predstavljena uporaba voska v kiparstvu. Obrazložene so osnovne tehnike oblikovanja in uporabe voska v kiparstvu in priprava različnih vrst voska, ki se lahko uporabijo za modeliranje, dodatno dodelavo itd., in kako in zakaj se uporablja določena zmes voska. Praktični primeri, ki jih avtor izvaja v laboratoriju za tehnike vlivanja (Fonderia), predstavljajo njegove likovne analize in nekatera dela drugih umetnikov. V drugem delu naloge so ob prikazu praktičnih primerov v ateljeju, namenjenem dijakom in dijakinjam, predstavljeni postopki uporabe in obdelave voska kot kiparskega materiala, tehnike vlivanja, oblikovanje voščenega portreta in razumevanje pojmov pozitiv in negativ. Izvedba v praksi temelji na podlagi učne priprave, v kateri so jasno postavljeni cilji, likovna naloga, skrbno izbrani pripomočki in pripravljen delovni prostor, natančno opisani postopki izvedbe likovne naloge, analiza opravljenega dela in vrednotenje.In this master’s thesis, the first part of the research presents the history of the meaning of wax as an art material, its role in ceremonial events in the past, the characteristics of wax as a sculptural material and its possibilities of being included in high school art classes. The use of wax in sculpture is chronologically presented through the works of Italian and Slovenian sculptors. The basic design techniques, use of wax in the field of sculpture, the preparation of different types of wax that can be used for modelling, additional finishing, etc., and how and why a particular wax mixture is used, are explained in this work. Practical examples show the work of the author with art analysis (i.e., analyses of his artworks) and some works by other artists in the laboratory for casting techniques using pouring (Fonderia). The second part of the thesis presents practical examples in the atelier intended for high school students, along with the processes of using and treating wax as a sculptural material, casting techniques, creating wax portraits and understanding the terms positive and negative in artwork. The practical implementation is based on the related teaching preparation, which clearly sets goals, artworks, carefully selected tools and prepared workspaces, precisely described procedures for making artworks, and analysis and evaluation of the work that is done

Use of wax in fine arts

In this master’s thesis, the first part of the research presents the history of the meaning of wax as an art material, its role in ceremonial events in the past, the characteristics of wax as a sculptural material and its possibilities of being included in high school art classes. The use of wax in sculpture is chronologically presented through the works of Italian and Slovenian sculptors. The basic design techniques, use of wax in the field of sculpture, the preparation of different types of wax that can be used for modelling, additional finishing, etc., and how and why a particular wax mixture is used, are explained in this work. Practical examples show the work of the author with art analysis (i.e., analyses of his artworks) and some works by other artists in the laboratory for casting techniques using pouring (Fonderia). The second part of the thesis presents practical examples in the atelier intended for high school students, along with the processes of using and treating wax as a sculptural material, casting techniques, creating wax portraits and understanding the terms positive and negative in artwork. The practical implementation is based on the related teaching preparation, which clearly sets goals, artworks, carefully selected tools and prepared workspaces, precisely described procedures for making artworks, and analysis and evaluation of the work that is done

Sculpture between the high modernism and the pop art

The degree paper work entitled the Statue between the high modernism and the pop art consist of theoretical and practical work. In the first part, which constitutes the theoretical starting point is through the citations of artists, art critics and cultural workers the presented understanding of "the end of art." More specifically, this meaning is represented in the time between the high modernism and pop art in the field of sculpture and of the philosophy of art. How is the definition of the "end of art" influenced the development of contemporary art and how is this reflected in the sculpture and the role of the potlatch as a ritual. In which they used objects as a means for artistic expression. In the second, practical part is presented the statue, which with its appearance, use and meaning of selected materials, process work and the form - expresses the "nothing - an empty point." The statue is made up of many, differently sized wooden parts. They differ by the type of wood, cultivation and, consequently, the structure of the statue. All of these parts, connecting metal parts, which have a role of fastening articles and give solidity to the structure of the statue. From the symbolic side, the statue represents the union of modernism and postmodernism, which is indirectly generated between the high-modernism and the pop art. Wooden parts symbolize the modernist parts of the statue, the metal parts represent the pop art style. It is also about a combination of organic and inorganic forms and the interaction between these elements in the area of the art expretion

Razstava študentskih del pri predmetoma Osnove keramike in Kreativna keramika v študijskem letu 2012/13; mentor: Mirko Bratuša, izr. prof.

Razstavo študentskih del pri predmetoma Osnove keramike in Kreativna keramika v študijskem letu 2012/13 sta 9. 10. 2013 otvorila vodja galerije Andrej Brumen Čop, doc. in mentor Mirko Bratuša, izr. prof

mentor: Mirko Bratuša, izr. prof.

Razstavo študentskih del pri predmetoma Osnove keramike in Kreativna keramika v študijskem letu 2012/13 sta 9. 10. 2013 otvorila vodja galerije Andrej Brumen Čop, doc. in mentor Mirko Bratuša, izr. prof

Razstava študentskih del pri predmetih Osnove keramike in kreativna keramika v študijskem letu 2013/14

Razstava torej ponuja pogled na dela v keramiki prvega letnika, ki so številčnejša, kot tudi drugega letnika, katerih del je manj, vendar tudi po velikosti nekoliko izstopajo. Posebej je potrebno pohvaliti dve deli, ki ju žal ni na razstavi, saj sta bili odbrani za protokolarni namen Pedagoške fakultete. To sta deli Kristine Gruden in Eve Rak . Ne nazadnje pohvala velja vsem, ki prispevajo, da se keramika razvija in napreduje na naši fakulteti in izven nje, kar dokazujejo uspehi naših bivših študentov

Razstava študentskih del pri predmetih Osnove keramike in kreativna keramika v študijskem letu 2013/14

Razstava torej ponuja pogled na dela v keramiki prvega letnika, ki so številčnejša, kot tudi drugega letnika, katerih del je manj, vendar tudi po velikosti nekoliko izstopajo. Posebej je potrebno pohvaliti dve deli, ki ju žal ni na razstavi, saj sta bili odbrani za protokolarni namen Pedagoške fakultete. To sta deli Kristine Gruden in Eve Rak . Ne nazadnje pohvala velja vsem, ki prispevajo, da se keramika razvija in napreduje na naši fakulteti in izven nje, kar dokazujejo uspehi naših bivših študentov