V okviru praznovanj ob godu zavetnika Zavoda sv. Stanislava vas vabimo na ogled slikarske razstave Jožeta Bartolja »Kenotafi«, ki je na ogled v Kregarjevem atriju od 8. novembra do 1. decembra 2017. Vabilo na odprtje razstave. Razstavo je odprl direktor dr. Roman Globokar, glasbeni program ob odprtju pa sta oblikovala baritonist Luka Somoza Osterc in pianistka Vlasta Doležal Rus. Ogled fotogalerije.
Izhodišče novega slikarskega cikla »Kenotafi« predstavlja srečanje z neizbežnim zemeljskim slovesom – ali kot je dejal Jože Bartolj sam: »Leto 2016 je bilo težko leto, v večnost je odšlo veliko meni dragih ljudi. Tako sta se septembra poslovila prijatelja, s katerima sem bil povezan več desetletij – eden je z otoka Oliba, drugi Hieronim s Sinjega vrha, s katerim so nas dobri dve desetletji družile kolonije Umetniki za Karitas …« Ta dva prijatelja pa kot da sta priklicala še cel sprevod pokojnih, s katerimi je bil slikar sorodstveno, prijateljsko ali službeno povezan, morda s kom predvsem duhovno. Kako se soočiti z izgubo? Kako sprejeti slovo ljubljenih oseb? Kaj ostane za njimi? Jože Bartolj je v procesu žalovanja, soočanja z minljivostjo poskušal na ta neodgovorljiva vprašanja odgovoriti v jeziku podobe, v govorici likovnega.
Že sama izbira slikarske podlage – stare lesene deske – daje osnovni ton njegovemu iskanju odgovorov na temeljna bivanjska vprašanja, hkrati pa cikel umešča v širši ustvarjalni opus, saj se Bartolj z deskami ukvarja že dalj časa. V njihovi leseni snovnosti jih razume kot tisto, kar ostane, potem ko voda, veter, čas izperejo in odnesejo vse drugo. Neposredno na to »grobo« podlago nanaša barvo, ki je v njegovem slikarstvu temeljno izrazno sredstvo – barva je tisto, kar ustvarja atmosfero upodobitev, kar oblikuje portretne poteze, predvsem pa, kar oživlja obraze, da zaživijo pred nami vsak v svoji resničnosti – tudi če ne poznamo vseh upodobljencev, nam s svojimi izrazitimi obraznimi potezami, mimiko, gestami jasno kažejo, da gre za konkretne osebe iz našega vsakdanjega življenja. Pri barvnem nanosu raze, letnice, grče, odrgnine v lesu vključuje v ustvarjalni proces, se jim ne izogiba, jih ne zakriva, temveč pusti, da sooblikujejo zgovorno teksturo, da mestoma poudarijo ali zastrejo določeno potezo – materialne sledi v lesu tako ponazarjajo sledi v življenju portretirancev, vsega tistega, kar jih je zaznamovalo, določalo, pa tudi vsega tistega, kar nas je povezovalo, kar smo prejeli od njih, kar smo po njih spoznali, kar so zbudili v nas in kar raste v nas zaradi njihove bližine in velikodušnosti. Podobe pokojnih prijateljev je kompozicijsko tako umestil na visoke ozke deske, da je izpostavil njihove obraze, pri čemer je poudaril njihove oči, ki nekje dobesedno žarijo v (notranji) svetlobi in neposrednosti – za vsakim pogledom tako lahko odkrivamo osebno zgodbo portretiranca, hkrati pa bližino, ki ga povezuje s slikarjem.
Prostorska postavitev v Kregarjevem atriju sledi avtorjevi ideji, da so slike kot simbolni spomeniki umrlim postavljeni nekako tako kot nagrobniki na pokopališču, da se lahko sprehajamo med njimi – na ta način nas zagotovo nagovarjajo drugače kot bi nas umeščeni na galerijsko steno. Bartoljevi kenotafi so tako sicer res njegov osebni odgovor in zaveza s pokojnimi, hkrati pa so izziv, ki terja odziv. V enaki meri so sled in obljuba; sled vsega, kar so portretiranci živeli in (so)ustvarjali, ter obljuba Življenja, ki ne mine.
Jože Bartolj se je po Srednji šoli za oblikovanje in fotografijo vpisal na likovni oddelek Pedagoške fakultete v Ljubljani. Diplomiral je iz slikarstva pri prof. Zdenku Huzjanu na temo “Križev pot kot likovni organizem”. Poleg službe urednika za kulturo na Radiu Ognjišče se aktivno ukvarja tudi s slikarstvom in je imel do sedaj že skoraj štirideset samostojnih razstav. V svojem opusu se večinoma posveča sakralni umetnosti, pri čemer so prvine njegovega sloga zraščene s tradicijo najstarejših vplivov krščanskega umetniškega izročila. V zadnjem času ustvarja predvsem portrete, ki pa nosijo globoko duhovno vsebino. Živi in ustvarja v Ljubljani. [email protected]
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