Boris Gaberscik Solve et Coagula, Sepulchrum, 2015

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About the artwork

Gaberšik’s still lifes are always full of symbolism and allusions, but his work can also be viewed from a purely artistic point of view (especially because the author himself is able to distinguish between the artistic and content-based approach and he mostly prefers to combine the two approaches): simple and at the same time complex compositions which often exceed the limits of Euclidean space and venture into the illusionary and surreal, the relationships mutually established by shapes and light, the rhythm of repetitive geometric shapes, subtle light, rich tonal values, modernist aesthetics and perfectionism in photographic processing.
With the series of still lifes, Solve et Coagula, Gaberšik’s laboratory finally brought forth its true alchemical nature, its motive, soul, copula mundi.


“… And on the wave is deeper blue,
And on the leaf a browner hue,
And in the heaven that clear obscure,
So softly dark, and darkly pure…”

- Lord Byron, Parisina

“This verse is my guideline when it comes to using light. I like the light that is quiet, does not absorb or block objects, instead it encourages them to exist, show their wounds to the world, the Germans would say Gebrauchsspuren. Without them, an object is just an object. I’m interested in relationships between objects; the light is the medium in which I submerge them. I feel the light, for me it’s stronger than the sound. In physics, light is an electromagnetic wave, for me light is strongly emotional, even a spiritual experience, I could compare it to a spiritual experience in architecture, to the cathedral. In Hermetism, the Sun is the only visible god and for me as well, the usage of light is mystical; I don’t take it for granted. When I’m photographing I only decide on some light coming from the right, exposure time can last for a couple of minutes and then, as a beginner still, I hold my breath. The compositions are static, nothing can move, but for me these moments are magical; it is then that the story transfers to the film.

I’ve dealt with light a lot, where does it come from, how it comes; for example in the works by Pierro della Francesca light is everywhere, it’s coming from everywhere, whereas on Rembrandt’s The Night Watch, it is oriented. In this series I don’t use focused light, unless the objects alone create it. Light is completely uniform; I believe that the objects themselves must modulate it, because that’s how they actively participate. It’s different to whether you expose them or put in the background with the help of light. For me light has to be like a breath, completely vegetative, just like breathing which you can hardly be aware of, it mustn’t be emphasized anywhere. The light is for me the crucial tone.”

- Boris Gaberšik


Modus operandi

Camera: Linhof kardan standard 4×5 inch, made in 1977, Linhof kardan master GT 8×10 inch, made in 1991

Lenses: Schneider Symmar S 150 mm, 5,6, made in 1975, C.Friedrich, Coronar, doppelanastigmat, 27 cm, 6,8 (Gauss) made in cca. 1927, Rodenstock Apo ronar, 240 mm, 5,6, made in 1988
Linhof cassette, Superollex, 60×72 mm

Enlarger: Magnifax II in IV, Made in 1965 and 1988

Lens: Schneider Componon 105 mm, 5,6

Films: Rollei Orto 25, Rollei RPX 25 (both 120)

Photographic processing in: Paterson FX 39, Neofin blau, Rodinal

Photo paper: Ilford, Multigrade, Warmtone, Fiber base, Rolei Vintage 131, Fiber base

Photographic processing in: Ansco 120 (modification Boris Gaberšik)

Flash: Bowens Monogold, volume 1988 z Softboxom

For the exposure time often uses only 60 W halogen light bulb with the option of dimmer.

Exposure time: from 1/125 seconds to 4 minutes at aperture F No between 22 and 64. In the series Solve et Coagula only one source of light is used (always from the right side).

Tags

• black and white

• still life