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Boris Gaberscik, Solve et Coagula, Sepulchrum

Boris Gaberscik Solve et Coagula, Sepulchrum, 2015

View in a room Photography 8.7 x 6.7 inch 7 remaining copies


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Boris Gaberscik, Solve et Coagula, Sepulchrum
  • Offered by the gallery

    Professional art gallery
    Ljubljana - Slovenia

  • Authenticity

    Work sold with an invoice from the gallery
    and a certificate of authenticity

  • Signature

    Signed artwork

  • Medium

    Photography : black & white edition

  • Themes

    Still Life, Black and white

  • Support

    Photography on baryta paper

  • Type

    Numbered and limited to 7 copies

  • Dimensions cm | inch

    8.7 x 6.7 inch

  • Framing

    Not framed

  • Collector’s Guide

  • 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


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Boris Gaberscik

Born in: 1957


Boris Gaberscik is a Slovenian photographer, born in Ljubljana in 1957. After studying biology at the Ljubljana university, he has been working as a freelance photographer since 1986. His unique work is like a staging where coincidental meetings take place but not through luck, they portray a strange story of his memories. His assembled images aren't like the collections of attic bazaars but architectural. Boris Gaberscik brilliantly manages to escape the trap of showing an inventory of used objects in his photos but depicts a true interpretation. Gaberscik constantly reminds us that photography isn't like a furniture in the vestibule of an eye but a desirable object. Through a mimicry alibi, he is able to carry us away to a place where allusions and illusions are all around. Displayed in several museums and private collections, Boris Gaberscik's work has been presented in several personal exhibitions since 1985 in Ljubljana (Gallery Equrna, Museum of modern art), Salzburg (Gallery Fotohof), Trieste (Studio Phi) and Paris (Galerie VU')...
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Boris Gaberscik, Solve et Coagula, Sepulchrum
Boris Gaberscik, Solve et Coagula, Sepulchrum

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