Boštjan Drinovec NEVIDNI SOPOTNIK 9.–30. 6. 2023

from Boštjan Drinovec: Nevidni sopotnik

Boštjan Drinovec: Nevidni sopotnik

Zgodovina človeštva je globoko zaznamovana z idejo o nenehnem napredku. Še zlasti v preteklih dveh stoletjih eksponentnega razvoja znanosti, tehnologije in humanistike so do izraza prišla prizadevanja za obvladovanje naravnih elementov, tudi tistih, ki jih človek ne more povsem racionalno zaobjeti in razumeti. Veliki geološki in klimatski cikli, okoljske spremembe in kozmični elementi, ki obdajajo Zemljo, so nedvomno tisti pojavi, ki kljub racionalnosti znanstvenih dognanj še vedno sodijo v domeno nerazumljivega in neznanega, kar lahko pri ljudeh povzroča strah in nelagodje. Danes so zato javni diskurzi, akademske razprave in umetniške prakse tako pogosto podvrženi razmišljanju o tehnološkem in znanstvenem napredku, naprednih aparaturah, odkrivanju vedno novih umetnih materialov, vse večji bližini organske in anorganske materije ter položaju človeka v nenehno spreminjajočem se svetu. Kljub temu se vedno znova izkazuje, da nove tehnologije in znanstvena odkritja ne morejo ponuditi odgovorov na vsa pereča vprašanja človeštva niti rešitev številnih nakopičenih težav in nesorazmerij v družbi in okolju. V domeni zemeljskega pač obstajajo stvari, ki so preprosto večje od ljudi, ki so vseobsegajoče, četudi nevidne, in ki imajo globok vpliv na vsakdanje življenje.

Takšne neizmerne in vseobsegajoče pojave analizira tudi mislec in pisec Timothy Morton, ki je vzpostavil tezo o hiperobjektih, s katerimi opisuje objekte, ki so – četudi povsem neoprijemljivi v klasičnem materialnem smislu – široko in množično porazdeljeni v prostoru in času. Hiperobjekti ne morejo biti reducirani na zgolj eno lokacijo in zgolj eno samo manifestacijo. Kot takšne Morton označuje pojave, kot so globalno segrevanje ali vremenske fronte, zaloge radioaktivnega plutonija ali umetelni materiali, kot je denimo plastika. V to kategorijo je moč uvrstiti še mnoge druge vseprisotne pojave, kot so sončni žarki, veter, dež ali valovanje morja. Z vsem akumuliranim znanjem ljudska vrsta še vedno ne zmore v popolnosti razumeti, kaj šele ukrotiti vseh omenjenih pojavov. V tem smislu je vprašanje eksponentne rasti proizvodnje in potrošnje naravnih virov in posledic le-teh na okolje pomemben kontrapunkt danes dominantnim diskurzom in premislekom o digitalizaciji sveta, optimizaciji človeškega telesa in uma z najrazličnejšimi pripravami ter vzpostavitvi nadzora nad ključnimi procesi človeškega in zemeljskega delovanja.

Človeška vrsta je namreč še vedno v pretežni meri povsem odvisna od naravnih virov in ciklov. Digitalizacija vsakdanjega življenja, novi decentralizirani načini delovanja sistemov v podobi verige blokov ali pametni stroji predstavljajo le majhen delček v širokem spektru elementov, ki omogočajo in poganjajo življenje; brez vode in hrane so verige blokov in kripto valute neuporabne, medtem ko kompleksni sistemi, kot je umetna inteligenca, ne delujejo brez dotoka električne energije. Tudi v sodobni umetnosti se zato že dolga leta vse bolj uveljavljajo prakse, ki se na različne načine posvečajo tem nenehnim spremembam bodisi s perspektive razmišljanja o možnih prihodnostih ob pomoči tehnologije bodisi na način angažiranega izpraševanja vzdržnosti naših življenjskih slogov v času antropocena.

V svoji praksi se tem vprašanjem na različne načine že vrsto let posveča umetnik Boštjan Drinovec, prvenstveno s sodobnimi kiparskimi prijemi, prav tako pa tudi z nekonvencionalnimi vstopi v polje robotike in neposrednega privzemanja industrijskih priprav. V svojih delih uporablja predvsem industrijsko obdelane materiale, ki lahko delujejo povsem generično, a hkrati vsakdanje in domačno, četudi so to pogosto ne povsem definirani objekti, ki jim ni vselej mogoče določiti funkcije. V tem razmerju med unikatnim in industrijskim, med ročnim in strojnim, med uporabnim in neuporabnim pa umetnik vzpostavlja poglavitni kontekst svojih del. Na neki način je predmet njegovega delovanja preprosto duh aktualnega časa, ki je v preteklih nekaj desetletjih popolnoma spremenil načine razmišljanja in dojemanja človekovega okolja ter občo estetiko kulturne krajine.

V preteklih petindvajsetih letih je svoje instalacije in kipe oblikoval po meri sodobnega sveta, takšnega, kot ga pozna in dojema sam, čemur pa je vselej dodal tudi kanček lastne fiktivne vizije mogočih prihodnosti. Z razstavo Nevidni sopotnik se osredotoča na človekov odnos do narave, ki se na eni strani izkazuje kot fascinacija in strahospoštovanje do vsega zemeljskega, na drugi strani pa kot želja po popolnem nadzoru zemeljskih procesov, ki sodijo v domeno t. i. organskega sveta. V naravnem okolju, ki je očitno mnogo dolgotrajnejše in mnogo bolj dolgoživo od človeške civilizacije, se različni procesi, ki so bili privzeti v tehnološke in industrijske postopke, avtonomno in neodvisno odvijajo že ves čas, ne da bi jih poganjalo kar koli drugega kot morda le sončna svetloba. Njegova kiparska dela povzemajo estetiko industrijskih instalacij in merilnih naprav, s tem pa napeljujejo na ambivalenten odnos človeka do okolja, njegovo intenco po ujetju in ukrotitvi naravnih procesov in pretvarjanju le-teh v lastno (gmotno) korist.

Na razstavi so predstavljena dela, nastala v preteklih desetih letih, ki odražajo njegove pomisleke in premisleke o industrializaciji in komercializaciji vsakdanjega življenja. Delo Model za digitalno fotosintezo Vento-2350 (2013) tako prikazuje bližino naravnega in umetelnega sveta, nasprotja in povezanost med organskim in anorganskim, med samoniklim in človeško (strojno) ustvarjenim. Industrijski objekt, ki spominja na električni drog ali vetrno elektrarno, je spojen z drevesnimi vejami, ki so v plastično toplo gredo nemara ujete zato, da bi povečale svoj izkoristek. Kakor v večini njegovih del se tudi v tej instalaciji kaže določena mera pomenske dvoumnosti, saj ne podaja jasnega sporočila. Skulptura lahko hkrati predstavlja utopično idejo o pridobivanju energije iz procesa fotosinteze ali pa kritično naslavlja človekovo željo po intervenciji v zemeljske procese, ki avtonomno delujejo že milijone let. Na drugi strani pa kip Drevesni delec za digitalno fotosintezo F-786 (2013) s povsem sintetično zasnovo ironično kaže na pretencioznost človeške vrste.

Na umeščenost industrijske estetike in umetelnih materialov v vsakdanje življenje namiguje tudi delo iz serije Umetni raj –Drevesni drsalec (2018), ki ponazarja obliko drevesa, ustvarjenega iz jeklenega ogrodja in plastičnih cevi. Umetnik ne moralizira ali sodi, temveč zgolj izpostavlja človekovo namero po ustvarjanju pravilnih in simetričnih oblik, ki v naravnem svetu ne obstajajo, s tem pa odražajo predvsem potrebo in željo po svojevrstnem redu. Na podoben način sta zastavljeni tudi objektni deli Citronela murum (2018) in Citronela vegetata (2018), ki predstavljata stojala za limone. Ker so tovrstni objekti v svojem bistvu popolnoma nefunkcionalni, je poglavitni razlog njihovega obstoja izpostavljanje generične estetike, saj s tem – absurdno – stojalo postane pomembnejše od sadežev, ki jih nosi.

Osrednji del razstave je ciklus kinetičnih skulptur z naslovom Opazovalne postaje (2021–2023), ki izpostavljajo nevidne, a nedvomno vseprisotne sile v naši življenjski sredini. Objekti industrijskih oblik se premikajo po svojih točno določenih krogotokih ob pomoči vetra, enega izmed nevidnih, a vseprisotnih hiperobjektov, da bi ga s tem sploh naredili vidnega. Veter pač nima vizualne podobe. Videti ga je moč zgolj na način, da poganja in premika objekte v naši okolici; vidimo ga lahko le zaradi zibanja drevesnih krošenj ali vrtinčenja prahu. Na drugi strani ta dela spominjajo na nekakšne merilne naprave ali priprave za pridobivanje energije, saj si je v sodobnem svetu skoraj nemogoče zamišljati objekt brez konkretne funkcije, ki ne bi proizvajal nečesa koristnega ali monetarno donosnega. Drinovec zato ustvarja funkcionalne, a v materialnem smislu povsem neuporabne strukture in mehanizme, ki v povezavi z naravnimi elementi delujejo skoraj avtonomno.

S svojimi deli Drinovec – morda povsem nezavedno in nenamerno – povzema duh tako zgodovinskih avantgard kot sodobnih teženj po refleksiji industrijskega kompleksa. Če so zgodnji avantgardni umetniki, kot je Naum Gabo, Vladimir Tatlin ali Man Ray, v dokaj pozitivnem duhu dojemali novo industrijsko dobo in spremembe družbenega ustroja, ki bi lahko z logiko in racionalnostjo izboljšala delovanje sveta, (globalne) družbe in družbenih odnosov, njihove ideje in utopije niso bile nikdar zares uresničene. Ravno obratno, bile so utišane s strani primitivnih in nazadnjaških političnih gibanj in posledično vojn, ki so divjale ne glede na sočasni filozofski, znanstveni in socialni napredek človeštva.

Tudi umetniki, ki so se gibanju in hitrosti posvečali v času velikega skoka naprej po drugi svetovni vojni, so morali pogosto priznati, da je njihovo delo podvrženo komercializaciji umetnosti in industrializaciji kulture, kar je v popolnem nasprotju z idealističnim prenosom hotenj in idej, ki so ga zagovarjali njihovi predhodniki, četudi so živeli v bolj nemirnih in apokaliptičnih časih. Umetniki, kot je Jean Tanguley,

Alexander Calder ali Victor Vasarely, so se na sebi lastne načine posvečali estetiki nove dobe in industrializaciji družbe – ter njeni veri v večni napredek. V njihovem času ekološke in okoljske posledice velikega skoka naprej še niso bile del javnega diskurza in prav zato so morda danes 60. in 70. leta dojeta tako idealistično in nostalgično, čeprav so bili ravno v tem času dokončno uničeni več ali manj vsi politični potenciali umetnosti. Ta je namesto ideološkega zagona začela pridobivati monetarni in komercialni pomen, tako da so bile še tako radikalne ideje povsem pacificirane na prostem umetnostnem trgu. V družbi, kjer si vsi ljudje prizadevajo in želijo zgolj eno stvar –moč in denar –, velike spremembe pač niso mogoče.

Drinovec svoje skulpture tako kot številni umetniki njegove generacije ustvarja iz povsem drugačnih idejnih predpostavk, saj do subjektov svojega zanimanja pristopa z določeno mero distance, kjer ni mogoče zaznati niti fascinacije niti odpora. Njegov način delovanja je v osnovi opazovalen in analitičen, saj se o pojavih, ki jih obravnava, običajno vrednostno ne izreka, temveč jih iz neke kritične distance le motri. Zaveda se tako zgodovine bliskovitega tehnološkega napredka, želje in potrebe po nadaljnjem razvoju kakor tudi posledic ekonomskega modela, ki zahteva nenehno rast proizvodnje in potrošnje.

Okoljski vidik v njegovih delih ni ekspliciten, je pa nedvomno prisoten v pomenskih podtonih. V preteklih letih je namreč izvedel nekaj izjemno lucidnih kipov, intervencij in prostorskih instalacij s tovrstnimi posrednimi poudarki. Delo Sonični oblak (2008), ki ga je ustvaril v sodelovanju s Primožem Oberžanom, je interaktivna zvočno-vizualna skulptura, ki povzema obliko inženirskega stolpa in s pomočjo vetra ustvarja zvočno kompozicijo, ki je človeška roka ne more v popolnosti kontrolirati. V delu Mobiusov trak (2018) se je osredotočil na gibanje, premikanje, avtomatizem in avtonomnost stroja, saj je na položaj skulpture postavil industrijskega robota, ki opravlja enolično Sizifovo delo premeščanja soli iz enega kupa na drugega.

S svojimi deli Drinovec torej odpira nekatera temeljna družbena in okoljska vprašanja, ki nimajo enoznačnih odgovorov. Njegove kinetične skulpture, nekakšni perpetuum mobili, pa naj delujejo na veter ali motor, so na videz avtonomni objekti, ki odražajo stvarnost eksponentnega napredka. Na drugi strani pa se zaveda neizbežnosti razvoja in vpeljevanja novih tehnologij in sistemov, ki tako pogosto sprva naletijo na odpor v družbi. Stroji in instalacije Boštjana Drinovca so na prvi pogled zelo domačni in običajni, zdijo se podobni nedefiniranim industrijskim sistemom, električnim drogovom, ki so nekdaj predstavljali znanilce napredka, ogrodjem nedograjenih stavb ali naftnim črpalkam, a so na drugi strani brez prave funkcije. Njihovo delovanje gre povsem v prazno, v nič, kar pomeni, da ne proizvajajo ničesar materialnega, razen da skušajo delovati in prepričati s svojo vizualno podobo ter izpostaviti tisto nevidno, kar nas obdaja. Njegovi perpetuum mobili lahko tako le spodbujajo k poglobljenim premislekom o stanju sveta in družbe, tukaj in zdaj.

Miha Colner

Boštjan Drinovec: Invisible Companion

The history of humanity is steeped in the idea of continuous progress. Especially during the last two centuries of the exponential development of science, technology, and the humanities, significant efforts have been made to master the elements of nature, even those that cannot be fully rationally grasped and understood. The great geological and climatic cycles, environmental changes and the cosmic elements surrounding the Earth are undoubtedly phenomena that, despite the rationality of scientific knowledge, still fall within the domain of the incomprehensible and the unknown, which can instil fear and discomfort in people. That is why public discourse, academic debates, and artistic practices are so often the subject of reflections on technological and scientific progress, on advanced apparatuses, on the discovery of ever new artificial materials, on the increasing proximity between organic and inorganic matter, and on the position of humans in this ever-changing world. And yet it has been shown time and again that new technologies and scientific discoveries cannot provide answers to all of humanity's pressing questions, nor solutions to the many amassed problems and disparities in society and the environment. In the domain of the earthly, there are things that are simply bigger than humans, that are all-encompassing, even if invisible, and that have a profound impact on everyday life.

Such immense and all-encompassing phenomena are one of the things analysed by the thinker and writer Timothy Morton, who created the concept of hyperobjects to describe objects that –although completely intangible in the classical, material sense –can be found throughout space and time. Hyperobjects cannot be reduced to a single location and a single manifestation. Morton lists phenomena such as global warming, weather fronts, stockpiles of radioactive plutonium, and man-made materials such as plastics. Many other ubiquitous phenomena, e.g. sunlight, wind, rain, or sea waves, can also be placed in this category. Despite all the accrued knowledge, humankind is still unable to fully grasp, let alone tame, all these phenomena. In this sense, the exponential growth of the production and consumption of natural resources, and the impact of such on the environment, is an important counterpoint to the prevalent discourses and reflections on the digitisation of the world, the optimisation of the human body and mind through all sorts of devices, and the establishment of control over key processes of human and earthly action.

Indeed, the human species is still to a large extent entirely dependent on natural resources and cycles. The digitisation of everyday life and new decentralised methods of systems such as blockchains or smart machines are just a small part of the broad spectrum of elements that facilitate and power life; without water and food, blockchains and cryptocurrencies are useless, while complex systems such as artificial intelligence cannot function without the flow of electricity. For many years, contemporary art has witnessed the increasing deployment of practices that address these constant changes in different ways, whether from the perspective of thinking about possible futures with the help of technology, or in a way that questions the sustainability of our lifestyles in the Anthropocene.

The artist Boštjan Drinovec has been addressing these issues in a multitude of ways for many years, primarily through contemporary sculptural approaches, but also with unconventional forays into robotics and the direct deployment of industrial devices. He mainly uses industrially processed materials that can come across as completely generic but at the same time prosaic and familiar, even if they are often not fully defined objects whose function cannot always be determined. It is in this relationship between the unique and the industrial, the manual and the mechanical, the useful and the useless, that the artist frames the principal context of his works. In a certain sense, the object of his work is simply the spirit of the present time, which over the past few decades has completely changed the ways of thinking and perceiving the human environment and the general aesthetics of the cultural landscape.

Over the past twenty-five years, Drinovec has tailored his installations and sculptures to the contemporary world as he knows and perceives it, always adding a touch of his own fictional vision of possible futures. In the exhibition Invisible Companion, he focuses on man's relationship with nature, which manifests itself both as a fascination with and awe of everything earthly, and as a desire for complete control over earthly processes that belong to the domain of the organic world. In the natural environment, which is obviously much more permanent than human civilisation, various processes that we have transformed into technological and industrial processes work autonomously and independently, without being powered by anything other than perhaps sunlight. His sculptural works invoke the aesthetics of industrial installations and measuring devices, thereby alluding to humankind’s ambivalent relationship with the environment, and its desire to capture and tame natural processes and transform them for its own (material) benefit.

The exhibition features work created over the past ten years that reflect his concerns and deliberations on the industrialisation and commercialisation of everyday life. Vento-2350 Digital

Photosynthesis Model (2013) thus depicts the proximity between the natural world and the artificial world, and the contradictions and interconnections between the organic and the inorganic, between the self-destructive and the man-made (machinemade). An industrial object resembling a transmission tower or a wind farm is amalgamated with tree branches that are trapped in a plastic greenhouse, perhaps to increase their efficiency. Like most of his works, this installation displays a certain degree of semantic ambiguity and does not convey a clear message. The sculpture may represent a utopian idea of energy extraction from the process of photosynthesis, or it may be criticism of the human desire to intervene in earthly processes that have been operating autonomously for millions of years. Meanwhile, the sculpture Wooden Fragment for Digital Photosynthesis F-786 (2013), with its purely synthetic design, ironically highlights the pretentiousness of the human species.

Work from the series Artificial Paradise - Tree Skater (2018), a tree of sorts created from a steel frame and plastic tubes, hints at the pervasiveness of industrial aesthetics and man-made materials in everyday life. The artist does not moralise or pass judgement, he merely highlights the human desire to create regular and symmetrical shapes that do not exist in the natural world, which reflects above all the need and desire for a specific order. Citronela Nurum (2018) and Citronela Vegetata (2018), which are effectively lemon racks, are designed in a similar way. Since these kinds of objects are completely non-functional in their essence, the main reason for their existence is to highlight a generic aesthetic; absurdly, this makes the rack more important than the fruit.

The centrepiece of the exhibition is a series of kinetic sculptures entitled Observatory Stations (2021-2023), which highlight the invisible but undeniably omnipresent forces among us. The industrial-shaped objects move in their precise circuits with the help of wind, one of the invisible yet universal hyperobjects, in order to make wind visible at all. Wind has no visual depiction as such. It can only be seen in the way it propels and moves things in our surroundings; it can only be seen in the swaying of treetops or the swirling of dust. Meanwhile, these works resemble some kind of measuring or energy generation devices, because in the modern world it is almost impossible to imagine an object without a specific function that does not produce something useful or profitable in monetary terms. Drinovec therefore creates functional but, in material terms, completely useless structures and mechanisms that, in conjunction with the natural elements, function almost autonomously.

Perhaps quite unconsciously and unintentionally, Drinovec distils the spirit of both historical avant-gardes and contemporary tendencies to reflect on the industrial complex. Whereas early avant-garde artists such as Naum Gabo, Vladimir Tatlin, and Man Ray were quite accepting of the new industrial age and changes in the social structure, thinking they could improve the functioning of the world, (global) society, and social relations through logic and rationality, their ideas and utopias have never been truly realised. On the contrary, they have been silenced by primitive and reactionary political movements and the resulting wars that have raged, notwithstanding humanity’s simultaneous philosophical, scientific, and social progress.

Even artists who reflected on movement and speed during the great leap forward after the Second World War often had to admit that their work was subject to the commercialisation of art and the industrialisation of culture, which is in stark contrast to the idealistic transmission of desires and ideas advocated by their predecessors, even if they lived in more turbulent and apocalyptic times. Artists such as Jean Tanguley, Alexander Calder, and Victor Vasarely analysed the aesthetics of the new age and the industrialisation of society – and its belief in eternal progress – in their own unique ways. In their time, the ecological and environmental consequences of the great leap forward were not yet part of public discourse, which is perhaps why the 1960s and 1970s are perceived today in such an idealistic and nostalgic way, even though it was precisely at that time that more or less all the political potentials of art were finally destroyed: instead of gaining ideological impetus, it began to acquire monetary and commercial significance, so that even the most radical ideas were completely pacified in the free art market. In a society where everyone strives for and wants only two things – power and money – profound change is simply not possible.

Like many artists of his generation, Drinovec creates his sculptures from a completely different conceptual premise. He approaches the subjects of his interest with a certain distance where neither fascination nor resistance can be detected. His method is at its core observational and analytical; he does not typically pass judgements about the phenomena he deals with; instead, he only observes them from a certain critical distance. He is aware of the history of break-neck technological progress, of the desire and need for further development, and of the consequences of an economic model that demands constant growth in production and consumption.

The environmental aspect is not explicit in his works, but it is undoubtedly present in the semantic undertones. In recent years, he has made some exceptionally lucid sculptures, interventions, and spatial installations accentuated in such an indirect way. Sonic Cloud (2008), created in collaboration with Primož Oberžan, is an interactive sound and visual sculpture that takes the form of an engineered tower and uses the wind to create a sound composition that cannot be fully controlled by the human hand. In Möbius Strip (2018), he focused on the movement, motion, automatism, and autonomy of the machine by placing an industrial robot in place of the sculpture to perform the monotonous, Sisyphean work of moving salt from one pile to another.

Drinovec's work thus raises fundamental social and environmental issues that have no clear-cut answers. His kinetic sculptures, which are perpetual motion machines of a sort, whether wind-powered or motorised, are seemingly autonomous objects that reflect the reality of exponential progress. On the other hand, he is aware of the inevitability of the development and introduction of new technologies and systems, which are often initially met with resistance in society. At first glance, Drinovec's machines and installations are very familiar and mundane, coming across like undefined industrial systems, transmission towers that once represented harbingers of progress, the frames of unfinished buildings or oil pumps, but they are devoid of any real function. Their work is in vain, meaningless, since they produce nothing material – except for trying to work, convince with their visual image, and expose the invisible that surrounds us. His perpetual motion machines can thus only promote deeper reflections on the state of the world and society, here and now.

Colner

Observatorij

2023, mobilna instalacija; jeklo, ventilatorja, kamera, vezje, wifi; objekt: 30 cm x 70 cm x 80 cm

(programiranje: JURIJ PODGORŠEK, elektronika: BORUT SAVSKI), testiranje

Vetrni drsalec V3x3

2023, nerjavno jeklo, ležaji; mehanizem: 50 cm x 140 cm x 110 cm, testiranje

Drevesni delec za digitalno fotosintezo F-786 2013, jeklo, polimetylmetakrilat, vezje, print, višina 78,6 cm

Bo Tjan Drinovec

Vrhovčeva 6a, 1000 Ljubljana

T: 041 950 166

E: bostjan.drinovec@guest.arnes.si

W: http://www2.arnes.si/~bdrino/

Curriculum Vitae

Rojen 1973 v Ljubljani.

Akademski kipar (feb. 1998, Akademija za likovno umetnost, Ljubljana).

Magister umetnosti (marec 2001, Akademija za likovno umetnost, Ljubljana).

Izvoljen v naziv docent, Akademija za likovno umetnost, Ljubljana, 2008.

Od leta 2008 predava na Akademiji za likovno umetnost in oblikovanje v Ljubljani. Ustvarjalec Metelkove Mesta.

Stalne postavitve:

- David, fasadna postavitev grške kopije, Metelkova Mesto, Ljubljana

- Veterni kip, Golec pri Braniku

- Prvi stik, FORMA VIVA, Kostanjevica

- Portret Franceta Prešerna, Slovenska misija NATO, Bruselj, Belgija

- Spomenik Edvardu Kocbeku, Tivoli, Ljubljana

- Hipo v kadi, Grosuplje – mesto kipov

- Portret Frana Robleka, spominsko obeležeje na rojstni hiši, Žalec

- Klopca za dva, Metelkova Mesto, Ljubljana

- Veterna harfa (s Primožem Oberžanom), Metelkova Mesto, Ljubljana

- Zvonka – (s Primožem Oberžanom), Metelkova Mesto, Ljubljana

- Sonični oblak (s Primožem Oberžanom), Forma viva, Ravne na Koroškem

- Spomenik Nestlu Žganku, Titov trg, Velenje

- Portret Josipine Hočevar, Krško

- Kakofonični generator MM, Garaže, Metelkova mesto

- Drevesni delec, Svetlobna gverila, Park ob Gradaščici, Ljubljana

- Veterni oblak, Pedrovo pri Braniku

- Portret dr. Toporišiča, Dobova

- Relief Ive in Franja Stiplovška, Posavski muzej Brežice

- Prepih, vetrna skulptura, v okviru Urbanih intervencij Mobilnost GO2025, Nova Gorica

April 1994

Junij 1996

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Sept. 1998

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Dec. 1999

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April 2002

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Sept. 2004

Sept. 2005

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August 2006

Junij 2008

Oktober 2009

Junij 2010

September 2010

Oktober 2010

December 2010

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Februar 2012

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Marec 2014

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Maj 2015

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Jnuar 2017

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Maj 2019

Oktober 2019

September 2020

Junij 2021

Avgust 2021

April 2022

Junij 2022

September 2022