FRanCi pEpERkO In memoriam (1978–2016)
kOnčnO nESkOnčn0 FRanCi pEpERkO In memoriam (1978–2016)
IN MEMORIAM (1978–2016)
“Time is our ally sometimes, though it is often also our enemy. But it always has to do with truth. And that’s what counts.”
“Z mrtvim drevesom rišem na mrtvo drevo, drevo, ki pa je toliko živo, koliko zmotno si ga gledalec uspe predstavljati.”
“I use a dead tree to draw on a dead tree, a tree, which is, nonetheless, as alive as the observer mistakenly imagines it to be.”
FRanCi pEpERkO
“Čas je včasih naš zaveznik, velikokrat je tudi naš sovražnik. Vendar je povezan z resnico. In to šteje.”
“Smotrnost v produktu lepih umetnosti se torej, tudi če je namerna, vendarle ne sme kazati kot namerna. Drugače rečeno, lepe umetnosti morajo biti videti kot narava, tudi če se zavedamo, da so umetnosti.” (Immanuel Kant, Kritika razsodne moči) Franci Peperko (1978–2016) je bil v umetniškem zagonu na izvirni, žal prehitro zaključeni, ustvarjalni poti. Sočasno z vzponom pretanjene slikarske čutnosti ter občutkom za estetski hlad je eksponentno dvigoval tudi lastno produkcijo. Tako je tudi zapustil vznemirjujoč opus slik, ki pričajo o njegovem subjektiviranem bistvu; da ga namreč primarno niso zanimali slikarski modni trendi, temveč je trmasto ostajal zvest sebi. Leta 2004 se je vpisal na Šolo za risanje in slikanje – Arthouse College v Ljubljani, kjer je leta 2011 študij pod mentorstvom profesorja in akademskega slikarja Mladena Jernejca tudi uspešno zaključil. Že v času študija je Peperko nakazoval izjemen talent, ki med profesorji in kolegi ni ostal neopažen. Razstavljal je na več skupinskih razstavah in pogosto sodeloval na likovnih kolonijah. V delih je obravnaval predvsem naravo kot tako; zanimala ga njena urejenost ter hkrati nujnost in neoporečnost. Simbolno je razpiral občudovani svet mitov, ki predstavljajo mejo med resničnostjo in iluzijo in, ki so vezani na čas, ko je bila narava še neokrnjena, pristna. Retrospektiven pregled umetniških del, ki so nastala v času študija in še nekaj let po zaključku diplome, so dokaz njegove prvinske miselnosti. V Peperkovih študijskih delih vidimo, da je precej časa posvečal študiju starih mojstrov. Predvsem v olju naslikanih tihožitjih prepoznamo naslone na holandske mojstre 17. stoletja. Risbe tihožitij so izdelane s trmasto natančnostjo, da so vidni detajlni odsevi svetlobe v namerno vključenem steklenem materialu, ki se tako tudi fizično raz-loči od ostalih. Peperkove risbe zagotovo kažejo dovršenost umetnikovega upodabljanja. Vešč svinčnika in oglja se potopi v upodabljanje realistične kompozicije, ki pa se v umetnikovi sproščenosti skoraj vedno zaključi v nadrealizmu.
V post-študijskih letih se je delno naslanjal na realistično akademsko izročilo 19. stoletja in na umetnost starih mojstrov, ki je bila na slovenski umetniški sceni popularna že v sedemdesetih letih prejšnjega stoletja. Realistično akademsko izročilo so namreč nagovarjali umetniki, kot Kiar Meško, Rudi Španzel in prav tako prezgodaj umrli Bard Iucundus, ki so skušali prelomiti z modernističnim akademizmom in estetiko abstraktnega slikarstva ter se vrniti nazaj k temeljem – k figuri in k formalnim idealom. Franci Peperko je šel še korak dlje ter figuraliko nadomestil z naravo; a ne na krajinarski način, temveč z antropomorfizmom, pri čemer upodobljene motive drevesa nadomešča človeška podoba. To ga navsezadnje vodi tudi do končnega, z nadrealizmom prežetega zaključka. Likovni motivi Francija Peperka so prepoznavni in ponavljajoči se, skoraj zmeraj blizu morbidni srhljivosti, upodobljeni na mističen način. Seveda ne moremo prezreti Tisnikarjevega vpliva, a nikakor ne v slikarski potezi, temveč v motiviki, ki je povezana z vsebinsko skrivnostnostjo vran in avtoportretov. Umetnik je izzive iskal tudi v abstrakciji. Opus nastalih slik v abstraktnem slogu, serija Brez naslova, ki so nastale leta 2010, je naslikan z mešano tehniko v neki simbolni prepoznavnosti, ki nakazuje njihov nastanek v vsaj dveh ločenih fazah. Franci je abstrakcijo gledal v naravi. Dokaz za to so črno-bele fotografije, nastale nekega nepredvidljivega jutra v času študija, ko se je umetnik po neurju s fotoaparatom odpravil iskat motive v Tivolski park. Naletel je na Jakopičev spomenik, ob katerem je strela udarila v drevo. To je bil povod za serijo fotografij, ki tokrat nosijo celo naslove, kar še dodatno izraža njihov pomen. Jakopičev demon je kompozicijsko postavljen tako, da spomeniku prilije demonsko senco, ob čemer črno-bela tehnika še dodatno poudari temačnost simboličnega boja Riharda Jakopiča z neurjem. V diplomskem delu umetnik zapiše: “Vse risbe so narejene iz ekološko neoporečnih materialov. Tako medij (oglje) kot nosilec (papir) sta narejena iz drevesa. Tako z mrtvim drevesom rišem na mrtvo drevo, drevo, ki pa je toliko živo, koliko zmotno si ga gledalec uspe predstavljati.” Franci Peperko je dokazal, da je vreden spomina v opusu slovenske likovne umetnosti. Hkrati ostaja tudi kot trpek opomin, da smo prehitro izgubili izvirnega slikarja, ki ob ustvarjanju odkriva, mestoma pravzaprav bliskovito repetira med občo raznolikostjo in odkrivanjem novih resnic. Časovna nedoločenost obstoja ga vodi namreč do spoznanja, da je aktualna “resnica” (karkoli to že je) odvisna izključno od njenega vsakokratnega nasprotja. In oba pola sta tu, pred našimi očmi, istočasno. Franci Peperko je stopil onkraj neskončnosti. In z njim njegova resnica. V absolutni neskončnosti pa je tudi ta brez konca. In to šteje.
“Even though the purposiveness in a product of fine art is intentional, it must still not seem intentional; i.e., fine art must have the look of nature even though we are conscious of it as art” (Immanuel Kant, The Critique of Judgment) The artistic drive of Franci Peperko (1978–2016) was striding along an original creative path, which ended, unfortunately, much too quickly. The intensification of his sophisticated sensibility as a painter, and his feel for esthetic cold were accompanied by an exponential shift in the volume of his production. Indeed, he left behind an intriguing body of work, which testifies to his subjectivized essence; i.e. rather than being primarily interested in painting fashion trends, he always remained stubbornly true to himself. In 2004 he enrolled in the Arthouse – College of Visual Arts in Ljubljana, and successfully completed his degree in 2011 under the mentorship of professor, Mladen Jernejec, academic painter. Already during his studies, Peperko displayed an exceptional talent, which did not go unnoticed among the teachers and fellow students. He exhibited in several group exhibitions and often participated in art colonies. His works were concerned mostly with nature as such; he was intrigued by its orderliness, and at the same time its necessity and purity. He symbolically unfolded the so admired realm of myths, the borderline between reality and illusion, connected to a time when nature was still unspoiled, pristine. A retrospective overview of the artworks created during his studies, as well as a few years after his graduation, demonstrate his principal psyche. Peperko’s study years works reveal to us that he spent a great deal of time studying the old masters. Especially the still-lifes in oil indicate the influence of the Dutch masters of the 17th century. The drawings for them are crafted with unshakable precision, revealing the detailed reflections of light in the deliberately incorporated glass material, which is thereby even physically separated from the others. Peperko’s drawings undoubtedly corroborate the perfection of his presentment. Skilled in the use of the pencil and charcoal he delves into depictions of realistic compositions, though his typically unconstraint manner makes them almost inevitably turn out as surrealist.
Finally infinity
In his post-study years he was partly influenced by the academic tradition of the 19th century realists and the art of the old masters, which was popular on the Slovene art scene already in the nineteen-seventies. This academic heritage was specifically addressed by artists like Kiar Meško, Rudi Španzel, and the also untimely deceased Bard Iucundus, who were trying to break away from the modernist academism and the esthetic of abstract painting, and return back to the foundations – back to the figure and formal ideals. Franci Peperko took a step even further, and replaced figurality with nature; yet not in the fashion of landscape painters, but rather by means of anthropomorphism, where the depicted tree motifs are replaced by a human image. It is this, ultimately, which leads him to the final surrealism-inspired conclusion. The visual motifs of Franci Peperko are distinctive and repetitious, almost invariably bordering on morbid eeriness, presented in a mystical manner. Clearly we cannot overlook traces of Tisnikar’s influence – not in the stroke, but rather in the motifs, which are related to the thematic mysteriousness of the crows and the self-portraits. The artist searched for challenges even in abstraction. The opus of abstract paintings, the series Untitled, created in 2010, is painted in mixed technique and charged with a certain symbolic distinctiveness, which implies the works were created in at least two separate phases. Franci observed abstraction in nature. A testimony to this are the black-and-white photographs taken during his study years, one morning after an unexpected storm, as he set out to search for ideas at the Tivoli city park in Ljubljana. He passed the Jakopič statue, and saw that a thunderstruck tree had fallen on the sculpture. This was the cause for a series of photographs, all titled this time, which further asserts their significance. The Jakopič demon is compositionally conceived in a way that effectively blends the demonic shadow to the sculpture, while the black-and-white technique additionally accentuates the gloominess of the symbolic struggle of Rihard Jakopič with the storm. In his diploma thesis the artist states: “All of the drawings are made from green materials. Both the medium (charcoal), as well as the carrier (paper) were made from a tree. Therefore, I use a dead tree to draw on a dead tree, a tree, which is, nonetheless, as alive as the observer mistakenly imagines it to be.” Franci Peperko proved that he is well worth the remembrance in the overall opus of Slovene fine arts. At the same he remains as a bitter reminder of how we lost, much too prematurely, a highly original painter, for whom painting means discovering, and at times swiftly charging between common diversity and the discovery of new truths. In other words, the temporal indefiniteness of existence leads Peperko to the realization that the actual “truth” (for whatever that is) depends each time and exclusively on its opposite. And both poles are here, in front of our eyes, simultaneously. Franci Peperko took a step beyond infinity, his truth beside him. In absolute infinity, this truth is endless as well. And that’s what counts.
S AN J E O DREVESU V času svojega študija na Visoki strokovni šoli za risanje in slikanje v Ljubljani je Franci Peperko izstopal iz običajnega študentskega povprečja. Bil je zelo samokritičen, inovativen, raziskovalen študent z izvirnimi idejami. Nasvete profesorjev je upošteval in takoj spremenil v dejanja. Preizkušal je različne likovne tehnike in pristope k slikanju, kar je postala značilnost njegovega celotnega poznejšega ustvarjanja. Od začetnih tihožitij dalje je bila njegova tematika predvsem narava, prepredena z organskimi, ekspresivnimi formami razvejanih in osamelih golih dreves, s katerimi je očitno čutil povezanost, saj so mu omogočala možnost osebne likovne izpovednosti, s svojimi vzorčnimi krošnjami, koreninami, polomljenimi debli, grčami, sunkovitimi zavoji in prelomi vej. Le-te se asociativno bohotijo v okoliški prostor ter s svojo temačnostjo ustvarjajo asociacije na tragično usodnost, osamljenost in minljivost. Nenavadno velike risbe gozda iz leta 2011 s portreti posameznih dreves že nakazujejo njegovo motivno usmerjenost. Zlovešče vrane, ki na teh vejah sedijo, omogočajo še dodatno likovno in izrazno dopolnilo, ki vzpostavlja posebno psihološko vzdušje v prostorsko časovnih povezavah, ki jih Peperko neprestano izpostavlja in s tem opozarja na našo skupno usodo. V nekaterih likovnih delih se pojavljajo robno naslikani okvirji s poudarjenimi teksturalno reliefnimi površinami, znotraj katerih se nahajajo svetlejši in temnejši prostori. S tem avtor poudarja ploskovno frontalnost nosilca in hkrati »Albertijevo okno« na eni, ter iluzijo nadrealističnih prostorov za njim, na drugi strani. Tudi v poznejših slikah Peperko nadaljuje z ekspresivnimi prikazi deformiranih, propadajočih dreves v prvem planu, ki kot fantomi v fotografijah z Jakopičevim kipom vnašajo v nas strahospoštovanje. Tako interpretirana drevesa spominjajo na ptice ujede z razprtimi krili, iztegnjenimi vratovi, glavami in drugimi pritiklinami, ali v fotografijah asociacijo na človeško figuro, ki ponavlja formo Jakopičevega spomenika (»Jakopičev demon«). Tako postane drevo kot razvejani in tenkočutni kozmološki simbol in vzorec spremljajoči motiv skozi večino Peperkovih slik. Svojevrstno likovno delo, ki napoveduje slutnjo smrti, je njegov avtoportret, ki izstopa iz črnega ozadja in se istočasno utaplja v gosti, črni, tekoči substanci, v katero se pogreza njegov vrat in na katere površini se rahlo odslikuje njegov odsev. Avtoportret z violetno barvitostjo in prodornim pogledom, ki nas neprestano spremlja, je dovršeno likovno delo, s katerim Peperko dokazuje zavidljivo ustvarjalno lego, slikarsko invencijo in imaginacijo. Tudi v abstraktnih slikah se avtor poslužuje gnetljive in reliefno uporabljene akrilne barve, ki s svojimi krčevitimi vzorci in neprestano turbulentnostjo vnaša v tovrstno slikovno polje življenje, polno nemira in nevrotičnosti. Peperkova slikarska in risarska dela so svojevrstna ne samo zaradi doživete, resne ter tragične tematike in motivike, temveč predvsem zaradi likovnosti same, s katero vzpostavlja urejen vizualni in duhovni dialog z opazovalcem. Obvlada likovni medij, tako v tehnološkem, likovnem in izraznem smislu. Ima razvit občutek za detajl, obris, ton, barvo, teksturo, obliko, vzorec in kompozicijo, pri čemer vselej išče nove kompozicijske izzive, vzdušja in motivne kombinacije. Kljub nekaterim stalnicam, ki kot rdeča nit prepredajo celoten njegov prezgodaj zaključeni opus, pogosto v svoje kompozicije vnaša motiv poti, ki se vijejo proti oddaljenim horizontom, nad katerimi lebdijo nebesna telesa in tako neprestano vzpostavlja dialog med prostorom in časom, naravo in človekom, med materialnim in duhovnim. Pri tem je ostali civilizacijski prostor odstranjen, vsa pozornost pa usmerjena v doživljanje prvinskega in naravnega, skozi prizmo avtorjeve izkušnje v opazovanju, razumevanju in spoznavanju sveta. Peperko zato napolnjuje prostor razpet med zemljo in nebom s svojimi simboli, tako kot ga zapolnjuje s svojim hrepenenjem tudi človeško bitje, razpeto med telesom in duhom. Telo je minljivo, duh pa je večen, in to tudi v spominu na Francija Peperka in njegov likovni ustvarjalni opus ter na duhovne vrednote in sporočila, ki nam jih za vedno ponuja njegovo slikarstvo.
DREAMS OF A TREE During the time of his studies at the Arthaus – College of Visual Art in Ljubljana, Franci Peperko stood out from the typical student average. He was distinctly self-critical and innovative; an exploring student with original ideas. He took the advice his professors gave him, and instantly turned it into practice. He experimented with various fine art techniques and approaches to painting, which later became characteristic of his entire body of work. From the early still-life paintings onwards, his themes were mostly concerned with nature shot with organic, expressive forms of branched, solitary naked trees, with which he obviously felt connected: for him, their patterned treetops, roots, broken trunks, gnarls, twisted turns and crooked branches were a means of expressing his personal (visual) lyricism. In his paintings, they grow lusciously and full of associations, spreading into the surrounding space, and creating an impression of tragic fatality, loneliness, and transience. The unusually large drawings of woods from 2011, depicting portraits of individual trees, already imply Peperko’s orientation in terms of motifs. The sinister crows sitting on branches are an additional visual and expressive supplement that creates a particular psychological atmosphere inside spatial and temporal connections, which Peperko constantly exposes, thereby calling the attention to our common, shared fate. Some of his works feature painted frames on the sides, with highlighted texture and raised-relief surfaces filled with lighter and darker sections. In this way the author emphasizes the surface frontality of the medium and at the same time Alberti’s “window” and the illusion of surrealist spaces behind it. Even in his later paintings Peperko continues with expressive depictions of deformed, decaying trees in the first perspective, which, like phantoms in the photographs with Jakopič’s statue, leave us aweinspired. Trees interpreted in this way remind us of birds of prey, with their wings stretched, their necks stuck out, their heads and other traits. In photographs, they create an allusion to a human figure that imitates the shape of the Jakopič statue (“the Jakopič demon”). Thus, the tree becomes the branching, refined cosmological symbol and the pattern-following motif in most of Peperko’s paintings. A particularly peculiar work, one which foretells the premonition of death, is his self-portrait: stepping out of the black background, and at the same time drowning in a thick, black liquid substance, his neck sinking in, and the image of his face lightly reflected on its surface. This violet-hued self-portrait, with his piercing gaze constantly following us, is an accomplished work of art, proving Peperko’s enviable creative position, his inventiveness as a painter, and his imagination. Even in his abstract works, the author uses a malleable and relief-applied acrylic color. Its convulsive patterns and constant turbulence introduce a life full of restlessness and neuroticism into this kind of painting. Peperko’s painting and drawing works are distinctive not only on the account of authentic, serious, and tragic themes and motifs, but mostly because of the pure visual effect as such, by means of which he establishes an orderly visual and spiritual dialog with the observer. His treatment of the fine arts’ medium is truly masterful, in the technical, visual and expressive sense. He has a great feel for details, contours, hues, colors, textures, shapes, patterns and compositions, while always in search of new compositional challenges, atmospheres and motif combinations. Despite of some fixed features that run like a common thread throughout his prematurely concluded opus, he often includes in his compositions the motif of paths winding towards distant horizons, overarched with celestial bodies, thus constantly creating a dialog between space and time, between nature and man, between the material and the spiritual. The rest of the civilization space is removed, all the attention directed to the experience of the primal and the natural, through the prism of the author’s experience in observing, understanding and discovering the world. This is why the space unraveling between the earth and the sky becomes filled with his symbols, just like it becomes filled with yearnings of any human being, split between body and spirit. The body is perishable, but the spirit is eternal. This goes out to the memory of Franci Peperko and his creative opus, as well as the spiritual value and message, which will forever remain ours through his paintings.
BESEDE Franci Peperko je bil eden najbolj pronicljivih likovnikov Šole za risanje in slikanje. Že za časa študija se je izkazal kot nadvse nadpovprečni študent. Ni se bal ne velikih formatov – obvladoval jih je z bravuro – ne različnih tehnik, kjer je vselej ustvarjal presežke. Študijska pot je kulminirala v odlično diplomo. Zanimala ga je Resnica; razkrival jo skozi teksture in oblike Narave; v njej je iskal simbole, npr. vejevje drevja ali pa animalistični motivi, skozi katere je izražal tudi svoje hrepenenje ter bitko s Časom. Peperka ni več, a ostaja tisto, s čimer je živel: raznovrsten, a povezan opus, ki priča zanj: kot odvetnik pred sodiščem Resnicoljubnosti.
MatiC kOS mag. lik. um.
Prodekan Šole za risanje in slikanje
Franci Peperko was one of the most insightful students at the Arthouse - College of Visual Arts. Already during his studies he stood out as an exceptionally talented artist. He was never intimidated by anything, handling large-scale formats with brilliance and technical issues no less cleverly. His formal educational path culminated with an outstanding diploma thesis. He was interested in the Truth; he unveiled it through the textures and shapes of Nature, always in search of symbols, like tree branches, or some of his animalistic motifs, which also served to express his yearnings and the inevitable battle with Time. Franci Peperko is gone, but what remains is that which he lived with: a diverse, yet interconnected body of work that testifies in his favor, like an advocate before the court of Truthfulness.
MatiC kOS MFA
Vice dean of Arthouse - College of Visual Arts
Nežna duša, ujeta v divjanje sodobnega sveta, prestreljena z vedno novimi zahtevami, pogojevanji, normami, ki jih moramo izpolniti, katerim se moramo podrejati, ki nas posledično »osmišljajo« ter pozicionirajo v sodobno družbo, nujno naleti na svoje omejitve. Franci je te omejitve sprejel, z njimi živel. Ni pa pustil, da mu narekujejo tempo, da mu določajo smisel, da spreminjajo njegovo bistvo. Likovna dela, njegova zapuščina, nas sodobnike, ki smo sprejeli vse zgoraj naštete postulate sodobne družbe, nagovarjajo na mehki, subtilni ravni odkrite duše in nepokvarjenega bistva človeka. Nežna struktura, ki jo je Franci vpletel v svoje risbe in slike, nas spominja na vse tisto, in zgolj tisto, kar v resnici smo. Torej preplašene živalce, ki se zavedajo svoje minljivosti in smrtnosti, nezmožne pravega stika z naravo, same in osamljene. Poetična nrav Francijevega slikarstva tako ostaja redek svetleči biser vsem nam, ki smo ga poznali in spoštovali.
ZORan pOZnič mag. um. Direktor DDT Trbovlje
A gentle soul caught in the frenzy of the modern world - spiked with ever new demands, conditions, norms, which we are obligated to fulfill, to which we must cave in, and, which in turn “give us meaning” and position us inside the contemporary society - is bound to face its limitations. Franci Peperko accepted these limitations, and lived along their side. But he never allowed them to dictate his pace, define his essence, give him meaning as a person, or change what he was all about. The visual works, which are his legacy, address us - contemporaries, who have accepted all of these modern societal postulates - on a gentle and subtle level that can only come from an honest soul, the unspoiled essence of man. The gentle structure, which Franci incorporated into his drawings and paintings, reminds us of all that, and exclusively that, which we really are: frightened little creatures, very aware of our own transience and mortality, incapable of forming a genuine contact with nature, alone and lonely. The poetic spirit of Peperko’s paintings thus remains a rare gem, shining brightly to all of us who knew him and respected him.
ZORan pOZnič MFA Director - DDT Trbovlje
kRitika Franci Peperko predstavlja na slovenski, še posebej pa štajerski likovni sceni dobrodošel kuriozum, saj lahko njegove skurilne upodobitve antropomorfno učinkujočih živali z reducirano barvno skalo in precizno detajlirano risbo uvrstimo v redko zvrst nadrealizma, za katerega se zdi, kot bi ga navdihovale novele in poezije E. A. Poa, še posebej morda v primeru tokratnih treh vran s človeškimi očmi in zarotniškim videzom, kot bi šlo za kakšno neobjavljeno sekvenco iz Hitchcockovega filma Ptiči. Celoten prizor v nekromatskem, grizajnem koloritu se dogaja v zasneženem okolju s skrajno ukrivljenim, neevklidskim horizontom v ozadju (simbolika onostranstva), atmosfera pa je podobna Tisnikarjevim pokrajinam. Dodaten nadrealističen, celo magičen učinek pa posreduje nad vranami lebdeča, posušena, zoomorfna drevesna veja, ki na prvi pogled spominja na morsko mačko, tako da je občutje strašljivo še večje.
MaRiO BERDič Likovni kritik
Franci Peperko is a welcome curio on the Slovene national, and especially the regional and local fine arts’ scene: his jesterly depictions of anthropomorphically functioning animals with a reduced color scale and his meticulously detailed drawings can be classified as belonging to a rare surrealist genre, which looks as if it was inspired by the stories and poetry of E. A. Poe, perhaps particularly so in the case of the three crows with human eyes and the appearance of conspirators, like some previously unreleased sequence from Hitchcock’s Birds. The entire scene in a non-chromatic, Grisaille-like coloring, unfolds in a snowy landscape with an exceedingly crooked, non-Euclidean horizon in the background (symbolism of afterlife), while the atmosphere resembles that of Tisnikar’s landscapes. An additional surrealist, even magical effect is achieved by the dangling, withered, zoomorphic tree branch above the crows, which at first sight reminds of a catshark, so that the effect is, scarily, even stronger.
MaRiO BERDič
Art critic
BREZ naSlOVa, 2013 (80 x 60 cm) olje na platno
UntitlED, 2013 (80 x 60 cm) oil on canvas
In memoriam (1978–2016)
FRanCi pEpERkO
ŠtUDiJE
TI H O Ž IT J E , 2 0 0 9 (67 x 90 cm) svinčnik na papir
S TILL LI F E , 2 0 0 9 (67 x 90 cm) pencil on paper
TI H O Ž IT J E , 2 0 0 9 (90 x 58 cm) svinčnik na papir
S TILL LI F E , 2 0 0 9 (90 x 58 cm) pencil on paper
tiHOŽitJE, 2005 (73 x 50 cm) olje na platno
Still liFE, 2005 (73 x 50 cm) oil on canvas
tiHOŽitJE (100 x 70 cm) olje na platno
tiHOŽitJE (70 x 100 cm) olje na platno
Still liFE (100 x 70 cm) oil on canvas
Still liFE (70 x 100 cm) oil on canvas
tRiptiH
BREZ naSlOVa, 2011 (120 x 60 cm) oglje na papir UntitlED, 2011 (120 x 60 cm) charcoal on paper
BREZ naSlOVa, 2011 (120 x 150 cm) oglje na papir
UntitlED, 2011 (120 x 150 cm) charcoal on paper
tRiptiH SKUPA J (120 x 270 cm)
tRiptyCH 2011 (120 x 270 cm)
BREZ naSlOVa, 2011 (120 x 60 cm) oglje na papir UntitlED, 2011 (120 x 60 cm) charcoal on paper
SlikE
BREZ naSlOVa, 2012 (50 x 60 cm) olje na platno
UntitlED, 2012 (50 x 60 cm) oil on canvas
BREZ naSlOVa, 2004 (77 x 62 cm) olje na platno
UntitlED, 2004 (77 x 62 cm) oil on canvas
BREZ naSlOVa (30 x 40 cm) olje na platno
UntitlED (30 x 40 cm) oil on canvas
BREZ naSlOVa, 2009 (50 x 50 cm) akril na platno
UntitlED, 2009 (50 x 50 cm) acrylic on canvas
B R E Z NA S L O V A , 2 0 1 0 (70 x 50 cm) fotografija
U NTITL E D , 2 0 1 0 (70 x 50 cm) photo
B R E Z NA S L O V A , 2 0 1 2 (70 x 50 cm) akril na platno
U NTITL E D , 2 0 1 2 (70 x 50 cm) acrylic on canvas
BREZ naSlOVa, 2008 (50 x 60 cm) olje na platno
UntitlED, 2008 (50 x 60 cm) oil on canvas
BREZ naSlOVa, 2009 (50 x 60 cm) olje na platno
UntitlED, 2009 (50 x 60 cm) oil on canvas
BREZ naSlOVa, 2012 (70 x 50 cm) olje na platno
UntitlED, 2012 (70 x 50 cm) oil on canvas
BREZ naSlOVa, 2012 (120 x 60 cm) olje na platno
UntitlED, 2012 (120 x 60 cm) oil on canvas
B R E Z NA S L O V A (70 x 50 cm) olje na platno
U NTITL E D (70 x 50 cm) oil on canvas
BREZ naSlOVa, 2009 (60 x 50 cm) olje na platno
UntitlED, 2009 (60 x 50 cm) oil on canvas
BREZ naSlOVa, 2001 (68 x 56 cm) akvarel na papir
UntitlED, 2001 (68 x 56 cm) watercolor on paper
BREZ naSlOVa, 2012 (100 x 70 cm) akril na platno
UntitlED, 2012 (100 x 70 cm) acrylic on canvas
B R E Z NA S L O V A , 2 0 1 1 (80 x 60 cm) olje na papir
U NTITL E D , 2 0 1 1 (80 x 60 cm) oil on paper
B R E Z NA S L O V A , 2 0 1 5 (103 x 71 cm) olje na platno
U NTITL E D , 2 0 1 5 (103 x 71 cm) oil on canvas
BREZ naSlOVa, 2012 (50 x 60 cm) olje na platno
UntitlED, 2012 (50 x 60 cm) oil on canvas
B R E Z NA S L O V A , 2 0 1 3 (70 x 50 cm) olje na platno
U NTITL E D , 2 0 1 3 (70 x 50 cm) oil on canvas
BREZ naSlOVa, 2013 (30 x 60 cm) olje na platno
UntitlED, 2013 (30 x 60 cm) oil on canvas
BREZ naSlOVa, 2013 (100 x 70 cm) olje na platno
UntitlED, 2013 (100 x 70 cm) oil on canvas
B R E Z NA S L O V A , 2 0 1 3 (100 x 70 cm) olje na platno
U NTITL E D , 2 0 1 3 (100 x 70 cm) oil on canvas
B R E Z NA S L O V A , 2 0 1 3 (100 x 70 cm) olje na platno
U NTITL E D , 2 0 1 3 (100 x 70 cm) oil on canvas
BREZ naSlOVa, 2013 (60 x 50 cm) olje na platno
UntitlED, 2013 (60 x 50 cm) oil on canvas
BREZ naSlOVa, 2013 (100 x 70 cm) olje na platno
UntitlED, 2013 (100 x 70 cm) oil on canvas
BREZ naSlOVa, 2015 (150 x 100 cm) olje na platno
UntitlED, 2015 (150 x 100 cm) oil on canvas
B R E Z NA S L O V A , 2 0 1 0 (100 x 70 cm) mešana tehnika
U NTITL E D , 2 0 1 0 (100 x 70 cm) mixed media
CHE SERRa SERRa, 2012 (100 x 100 cm) mešana tehnika
CHE SERRa SERRa, 2012 (100 x 100 cm) mixed media
aVtOpORtREti
aVtOpORtREt (60 x 70 cm) olje na platno
SElF pORtRait (60 x 70 cm) oil on canvas
aVtOpORtREt (60 x 45 cm) olje na platno
SElF pORtRait (60 x 45 cm) oil on canvas
BREZ naSlOVa, 2009 (100 x 70 cm) oglje na papir
UntitlED, 2009 (100 x 70 cm) charcoal on paper
BREZ naSlOVa, 2012 (115 x 85 cm) mešana tehnika
UntitlED, 2012 (115 x 85 cm) mixed media
akVaREli
BREZ naSlOVa, 2004 (70 x 40 cm) akvarel na papir
UntitlED, 2004 (70 x 40 cm) watercolor on paper
B R E Z NA S L O V A , 2 0 1 1 (29 x 12 cm) akvarel na papir U NTITL E D , 2 0 1 1 (29 x 12 cm) watercolor on paper
B R E Z NA S L O V A , 2 0 0 1 (50 x 45 cm) akvarel na papir
U NTITL E D , 2 0 0 1 (50 x 45 cm) watercolor on paper
B R E Z NA S L O V A prodekan Ĺ ole za risanje in slikanje
B R E Z NA S L O V A , 2 0 1 2 (75 x 50 cm) akvarel na papir
U NTITL E D , 2 0 1 2 (75 x 50 cm) watercolor on paper
FOtOgRaFiJa
J a k o p i č p red vejevjem , 2 0 1 0 (20 x 30 cm) ČB fotografija
J a k o p i č before t he T R E es , 2 0 1 0 (20 x 30 cm) BW photo
JakOpičEV DEMOn, 2010 (20 x 30 cm) ČB fotografija
JakOpič DEMOn, 2010 (20 x 30 cm) BW photo
DREVO pOZiRa, 2010 (20 x 30 cm) ČB fotografija
pOSing tREE, 2010 (20 x 30 cm) BW photo
J a k o p i č p o n eurju , 2 0 1 0 (20 x 30 cm) ČB fotografija
J a k o p i Č a f t er s t orm , 2 0 1 0 (20 x 30 cm) BW photo
KONČNO NESKONČNO / FINALLY INFINITY FRANCI PEPERKO In memoriam (1978–2016) Zbirka / Edition TOX, vozni red po tri tisočih / TOX, Timetable through three thousand Letnik / Volume 21 (2016), št. No. 54 Izdajatelj / Publisher Kulturno izobraževalno društvo KIBLA Maribor, Slovenija / Asssociation for Culture and Education KIBLA Maribor, Slovenia Zanj / Represented by Aleksandra Kostič Predsednica KID KIBLA / President of ACE KIBLA Zasnova, kuriranje in koordinacija projekta / Project designing, curating and coordinating Nina Jeza Zasnova kataloga, obdelava fotografij, oblikovanje in prelom / catalogue concept, photo editing, design and layout Aleksander Legen Naslovnica / Cover 1. Franci Peperko, Brez naslova, olje na platno, 2012 (50 x 60 cm) / Untitled, oil on canvas, 2012 (50 x 60 cm) 2. Franci Peperko, Brez naslova, olje na platno, 2015 (103 x 71 cm) / Untitled, oil on canvas, 2015 (103 x 71 cm) Fotografije slik / Photos Boštjan Lah Besedila / Texts by Nina Jeza, Artists&Poor’s, Darko Slavec, Zoran Poznič, Mario Berdič, Matic Kos Prevod / Translated by Helena Fošnjar Lektura / Proofreading Mirjana Predojevič Tisk / Printing Dravski tisk d.o.o Naklada / Print run 300 izvodov, 300 copies Tiskano v Sloveniji 2016 / Printed in Slovenia 2016 © 2016 KID KIBLA Vse pravice pridržane. Noben del te publikacije se ne sme reproducirati ali uporabiti na kakršenkoli drug način (grafični, elektronski ali mehanični, vključno s fotokopiranjem, snemanjem ali prenosom v baze podatkov) brez pisnega soglasja nosilca avtorskih pravic. Publikacija ni namenjena prodaji. © 2016 ACE KIBLA All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without prior permission from the publisher. The publication is not meant for commercial purposes. Fotografije © Avtorji in KID KIBLA Photographs Copyright © Authors and ACE KIBLA
Podpora / Support Mestna občina Maribor / Municipality of Maribor Ministrstvo za kulturo Republike Slovenije / Ministry of Culture of the Republic of Slovenia
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CIP - Kataložni zapis o publikaciji Univerzitetna knjižnica Maribor 75:929Peperko F.(084.12) PEPERKO, Franci, 1978-2016 Končno neskončno = Finally infinity : Franci Peperko : in memoriam (1978-2016) / [besedila Nina Jeza ... et al.] ; fotografije slik Boštjan Lah]. - Maribor : Kibla, 2016. - (TOX : vozni red po tri tisoč. Letn. 21 ; št. 54) 300 izv. COBISS.SI-ID 86727681
FRanCi pEpERkO In memoriam (1978–2016)