Lucijan Bratuš Pokrajina telesa Telo pokrajine Knjižna zbirkaArs $ 01 Tiskana verzija publikacije je izšla kot razstavni katalog ob avtorjevi 70-letnici Razstavi v Galeriji sv. Barbare, v Idriji, aprila 2019 in v Lokarjevi galeriji, v Ajdovšcini, maja 2019, sta predstavili izbor slikarskih del, nastalih v letih 1970–2019 isbn 978-961-290-128-8 Lucijan Bratuš Pokrajina telesa Telo pokrajine Izbor slikarskih del 1970 –2019 Elektronska knjižna zbirka $ e–48 Urednika zbirke Gorazd Kocijancic in Vid Snoj Lucijan Bratuš Pokrajina telesa – Telo pokrajine Izbor slikarskih del 1970–2019 Spremni besedili Milcek Komelj in Iztok Premrov Prevod v anglešcino Nataša Hirci in Nike K. Pokorn Slike, fotografije in oblikovanje elektronske izdaje Lucijan Bratuš Izdajatelj $ Za kud Logos Mateja Komel Snoj Ljubljana 2019 Elektronska izdaja e–48 Elektronski vir (pdf, epub) Nacin dostopa (url): http://www.kud-logos.si/e-knjige/ Kataložni zapis o publikaciji (CIP) pripravili v Narodni in univerzitetni knjižnici v Ljubljani COBISS.SI-ID = 302579200 ISBN 978-961-7011-85-2 (epub) ISBN 978-961-7011-86-9 (pdf) Pokrajina telesa Izbor slikarskih del 1970 –2019 – figuralika Milcek Komelj Bratuševa slikarska afirmacija življenja Bistveno o slikarstvu Lucijana Bratuša nam pove že na­slov njegove jubilejne razstave. Njeno izhodišce je clove­ško telo, ki ga slikar doživlja kot likovno pokrajino, kot prizorišce svojih slikarskih bravuroznosti, in zato je telo njegove slikarske pokrajine hkrati pokrajina telesa. Na prvih razstavljenih slikah ugledamo ženski polakt s košaro v narocju, dojet kot plasticno masivno gmoto v ambientu, nakazanem s stenskimi ploskvami, ter košceno telo Kristusa z ekspresivno razpetima rokama pred belim pasom ozadja, prirašcajocim iz njegove perizome; iz mo­notone barvitosti pa izstopajo rdeci obrisi in poudarjena konstrukcija izstopajocih reber. V naslednjih podobah je bela ali rdeca ženska figura že reducirana na obris, ki do-minira kot svetlobna silhueta, podobna prividu, prav to pa razkriva slikarjev smisel za irealnost, saj so tovrstne figure videti kot bitja iz miticnih pokrajin, v katerih ume­tnik z znacilno široko potezo neguje predvsem tonska razmerja. Figura z dvignjeno roko pred vertikalnim pa-som sivine se zmagovito dviga iz reže med zaobljene grice stisnjenega brezna kot vstali clovek, prepojen z rdecino okrvavljenega telesnega tkiva, in oživlja v ritmih zaokro­ženih potez v dialogu med rdecino in belino, vertikalni pas za bitjem pa vzbuja aluzijo na slovesno draperijo za svetniki na renesancnih slikah. Spet drugod se Bratuševe vselej avtorsko razpoznav­ne figure namešcajo na nekakšno mizo in se z mehko tekocimi pregibi povezujejo v triptih. V svoji koreogra­fiji pred sivino aludirajo na boleco otrplost in iztegujejo roke v tišini krika. Njihova gola ali v belino ovita telesa so predvsem znanilci odtujenega trpecega cloveka, ki išce svoj ustrezni položaj, a se lahko izvija in pretaka le iz ene nelagodnosti v drugo. Na naslednjih podobah se iz sple­ta potez vedno znova dviga Bratušev neindividualizirani posplošeni clovek, izrisan z nezamenljivo slikarjevo kali­grafsko vehementno potezo v brezoblicno bitje, ki je oci­tno simbol trpecega cloveštva. Izvija se iz mehkih obrisov forme ali naslanja na uslocenost kanapeja, usklajen v barvnih tonih, ki dajejo živi telesnosti nadih onstranske omrtvelosti, tej pa vdihuje živost neunicljivi ritem potez. Take figure, pogosto izstopajoce tudi pred crnim ozad­jem ali kompozicijsko osredotocene pred crnim kvadra-tom, se vijejo v organicnosti obrisov vecinoma v prav ma­nieristicno zvrtinceni dinamiki, a so hkrati projicirane v ploskev, mehko razclenjeno z ostrimi obrisi, ki vedno znova poudarjajo umetnikov gladko tekoci rokopis; ta pa spet že sam po sebi izdaja rojenega kaligrafa, ki tudi tele­sno pokrajino oživlja predvsem z ritmom risarske pisave. V svojih pozah, ki nenehno variirajo, se mu figure ži­vahno razcvetajo, tudi ko so videti kot ranjen torzo ali ko strme v prazno, in izpricujejo življenjsko voljo že s tem, da so podlaga za slikarjevo emanacijo življenjskega ritma, ki se preliva v obrise figuralne osnove, razcvetajoca se v prostorsko nerazvidnem ambientu. Kontrastno izrisane figure s svojimi obrisi so lahko tudi polne erosa, enigmaticne v razgibanih pozah, kot bi se samodejno rojevale iz potez, in so ponekod v dvogo­voru beline in temine že malone abstraktne, z aluzijami pa nas lahko spominjajo tudi na prizore iz najrazlicnejših odrskih predstav, kjer dominira provokativna protago­nistka. Gre za scene kot z arhaicnega odra, kjer so figure hkrati samopašno nastopaške dame in žrtve s prevezo prek oci, vzpete ob lokih neznanih poti, vpete v ploskov-no arhitekturo brezpotij ali soocene v dialogu nemocnih žrtev, ležece na vertikalnem dvodelnem prizorišcu. Dra­maticnost takih postavitev pa intenzivirajo kontrasti med crnino in belino, med katerimi v sivini najraje izstopajo rdeci poudarki, ki aludirajo na kri. Vse na njih je jasno izrisana negotovost, ki se zgošca in usklaja v likovno rit­mizirano harmonijo, kar jasno izpricuje, da je umetnik, cetudi izhaja iz predstave o tesnobi in razbolenosti sveta, v bistvu skladna narava, ki vse to sublimira v plamenenje li­kovnega rokopisa, v katerem neomajno zmaguje življenje. »Kultno« izhodišce za tak nacin je umetniku – tudi s triptihi – najbrž slikarjev karizmaticni profesor Marij Pregelj, in ponekod nekdaj vplivni Francis Bacon, a slikar kot sprošcen Mediteranec je vzornikovo smrtno grozo prevedel v razglašanje življenja, ki se tudi iz bolecine kot feniks dviga v organicnost nenehnega prerajanja. Zato so figure na rjuhah belin, ki so vcasih obcutene kot nim­bi ali avre, oznanjevalke neunicljivosti življenja, tudi ko so videti vse ranjene; njihova roteca gesta pa je bolj kot krcevito obupana ponekod celo oznanjevalsko obredna, barvna krvavost pa se ji pretaplja v rožno zarjo. V taki antropomorfni figuraliki, ki je v svojem tkivu abstraktna, je Bratuševa ženska postava lahko videti celo eksoticna, kot slikarjeva izsanjana odaliska, razkazujoca se v pajcolanih, dvignjena kot razcvetena roža ali raz­potegnjena pod odlocno radoživim copicem v ležecem razdajanju, in tako v resnici sije kot vedno nova slikarska pokrajina, v katero se Bratušu spreminja sleherno clove­ško bitje. V vse bolj že prav arabesknih obrisih je lahko videti kot plešoca vilinska žuželka, sedeca na cvetu rože, ki se rdece razcveta, ali kot ranjena boginja radostnega življe­nja, ki ga je slikar preoblikoval iz zavesti o primarnosti trpljenja. Kadar je v težnji po ekspresivnosti motiviko še mocneje preoblikoval, pa je oblike do kraja zvrtincil in jih tudi v mehkih lokih prišilil v anatomijo svojega lastnega kaligrafskega ritma, v ekspresijo poteze z intenziviranjem zlasti rdece in sinje barve, tako da se mu nerazvidna bitja razvihrajo, kot bi jih prešinjala vipavska burja, oblike pa se mu spremene v petelinje perjanice in vse na takih sli­kah vedno znova zaživi kot slikarjeva odlocna afirmacija življenja. V raznovrstnosti nenehnih kombinacij se mu iz potez in oblik spletajo in prikazujejo vedno nova in nova bitja: rdece žene na cvetovih, zlite z ozadjem, ki raste iz njih ali jih obliva kot ognjemet zelenila in modrine; ali pa umetnik svoja bitja potaplja v splete rastlinskih listov, v pragozd življenja, ki oznanja le avtorjev primarni vita-lizem. Take Bratuševe figure so znanilke metamorfoz ži­vljenja, tudi ko se v vselej voljnih formah deformirajo in razkrajajo v demonske privide, in so znamenja slikarjeve vecne in nenehno spreminjajoce se življenjske narave, ki jo umetnik z linijo in barvo razgrinja kot poclovecena krajinska znamenja ali tihožitja nenehno spreminjajo-cega se življenja, uzrtega skozi lik kruto minevajocega in ranljivega, a v slikarjevi ustvarjalnosti neunicljivega cloveškega telesa. Milcek Komelj Lucijan Bratuš and his Affirmation of Life The title of Lucijan Bratuš’s exhibition marking his 70th birthday reveals the essence of his art. His exhibition is based on the human body, which is understood by the artist as the landscape of his artistic expression; that is why the body of his artistic landscape is at the same time the landscape of the body. The first exhibited paintings portray a semi-nude woman with a basket in her lap that gives an impres­sion of a plastic massive pile surrounded by bare walls, and a bony body of Christ with expressively outstretched arms on a cross against the background of a white belt growing from his loincloth, while the red silhouette and an expressed construction of his ribs stand out of this monotone colour scheme. In his other paintings the white or red female figure is reduced to a blurred silhouette, similar to a mirage, which also reveals the artist’s open­ness to the unreal, since these figures look like some be­ings from mythical lands, in which the artists managed to maintain the tonal balance with his typical broad sweep. The figure with a raised arm in front of a vertical belt of grey triumphantly rises from the abyss forced between rounded shape of hills like the risen man, imbibed by the red colour of the wounded human flesh, and is restored to life in the rhythm of rounded brush strokes that are in dialogue with the red and the white, while the verti­cal belt behind the risen being alludes to the ceremonial drape behind the saints in Renaissance paintings. In other paintings, Bratuš’s typical figures are placed around some sort of a table and are connected with soft liquid folds into a triptych. In their choreography against the grey background, these figures allude to a painful numbness and raise their arms in the silence of a scream. Their naked bodies, clad in whiteness, are the heralds of the alienated, suffering human being who is trying to find its right position, but cannot find it and is thus reduced to wriggling and flowing from one uncomfortable position to another. In the next painting we see how Bratuš man­ages to raise from a bundle of brush strokes an dis-indi­vidualised generalised human being, drawn with a unique calligraphic mastery of the artist into a formless being, which seems to be a symbol of a suffering human being. This being is formulated out of soft contours of the form or is reclining against the sofa, in matching colours which give the living corporality the impression of transcenden­tal numbness, while the latter is in turn made alive by the insurmountable rhythm of brush strokes. Such figures, which often stand out against the black background or are compositionally positioned before the black square, twirl into the organicity of silhouettes – in most cases with mannerist swirly dynamics – but are at the same time projected onto a canvas, softly divided with sharp contours, which keep unfolding the artist’s fluent handwriting; the handwriting which again reveals that the artist is a born calligrapher who manages to bring the corporal landscape alive through the rhythm of an artistic handwriting. His figures in their constantly changing positioning vivaciously bloom, also when they look like a wounded torso or when they stare into nothingness. They manifest their joie de vivre through the very fact that they serve as a foundation for the artist’s emanation of the rhythm of life which flows into the contours of the figurative founda­tion and effloresces in the spatially unspecified ambience. In contrast to the background, the figures and their contours might also appear to be full of Eros; their dy­namic poses seem enigmatic, as if automatically brought to life by the brush strokes. Engaged in a dialogue be­tween the whiteness and the darkness, they are almost abstract, like allusions to scenes from various stage per­formances with a domineering provocative female protag­onist. As though these scenes are from an archaic stage, the figures being both arbitrarily swaggering ladies and victims with their eyes covered, surfacing at the curves of the unknown paths, integrated into the flat architecture of the pathless landscape, or confronted by a dialogue of helpless victims lying on a vertical two-part scene. A dramatic impact of this layout is made even more intense through the contrast between the black and the white, making the red foci alluding to blood most noticeable in the grey areas. All about them emanates uncertainty, increasingly condensed and synchronised into a rhythmic harmony, clear evidence that – although originally draw­ing from the inner impression of anxiety and the aching world – the artist is essentially like harmonious nature, sublimating it all into the flame of his artistic handwrit­ing in which life is a clear winner. The “cult” foundation for the artist’s style – also in triptychs – is most likely his charismatic Professor, Marij Pregelj, and, in places, Francis Bacon, an influential figure of the past. Yet Bratuš is a relaxed Mediterranean painter who managed to translate his role model’s terrifying hor­ror into an affirmation of life, which rises, even out of pain, into the organic manifestation of perpetual rebirth like a phoenix. The figures on the sheets of white appear in form of nimbi or auras; they are the heralds of inde­structible life, even when apparently wounded. More than an instance of convulsive desperation, their begging ges­ture, in places even a ceremonial proclamation, is gradu­ally transforming the colour of blood into a rosy dawn. In such anthropomorphic figural art, abstract in its essence, Bratuš’s female figure may seem even exotic, like the painter’s dream-come-true odalisque, clad in veils, raised like a flower in full bloom, or elongated under the decisively jovial brush in the offering. It actually shines like an always new artistic landscape into which every human being is transformed in Bratuš’s paintings. In the increasingly arabesque contours it may ap­pear like a dancing fairy insect, sitting on the blossom, blooming in red, or like a wounded goddess of joyful life transformed by the painter out of his awareness of the primordiality of suffering. When, in his aspirations for expressiveness, Bratuš transformed his motifs even more expressively, he succeeded in completely swirling the shapes, sharpening them in soft curves into the anatomy of his own calligraphic rhythm, into the expression of a brush stroke, by intensifying the colours red and light blue. His indiscernible beings thus somehow storm out as though they were blown into the scene by the Vipava bora winds. His shapes are transformed into the rooster plum­age and everything appears alive again, manifesting in these paintings the artist’s decisive affirmation of life. In the diversity of constant combinations, the artist’s strokes and shapes bring to life new beings: red females on the blossoms, in harmony with the background, which grows out of them or splashes them with greens and blues like in the fireworks. Or the painter drowns his beings into the braids of plant leaves, a rainforest of life, proclaiming the artist’s fundamental vitality. These Bratuš’s figures are the heralds of the meta­morphosis of life, even when the always-willing forms are deformed and decomposed into a demonic mirage. They are the signs of the painter’s eternal and constantly changing nature, unveiled by his brush lines and colours in the form of humanised landscapes or still lifes of the constantly changing life seen through the prism of bru­tally passing and vulnerable, yet – in the painter’s creativ­ity still indestructible – human body. Prevod/Translation: Nataša Hirci in Nike K. Pokorn Telo pokrajine Izbor slikarskih del 1970–2019 – pokrajina Iztok Premrov Likovne preobrazbe Eden izmed motivov, ki jih Lucijan Bratuš intenzivno goji v svojem slikarstvu, je gotovo tudi pokrajina, vendar jo v taki integralni obliki zdaj prvic predstavlja javnosti. A kakor je vsa likovna motivika v njegovem slikarskem razvoju doživljala nenehne preobrazbe, tako se je zgodi-lo tudi z njegovimi naslikanimi pokrajinami. Osnovna izmed njegovih slikarskih metamorfoz se v njegovi ume­tnosti dogaja v procesu prehoda od realisticno zasnovane podobe k vse bolj reducirani in ocišceni podrobnosti, ki na koncu preide dejansko v cisto abstrakcijo. Druga taka temeljna preobrazba je pri Bratušu povezana s prehaja­njem, bolje receno s pretvarjanjem enega razpoznavnega motiva v drugega. Na primer, ce je osnoven in najbolj razpoznaven Bratušev lik antropomorfen, se njegovi od­vodi v procesu preobražanja lahko spremenijo v pokra­jino. Dogaja pa se tudi obratno. Serija z naslovom Telo pokrajine gotovo opravicuje vse te omenjene likovne postopke v njegovem ustvarjanju. Jasno je, da je umetnik vse te postopke razvil in izpeljal na osnovi takih izhodišc, ki mu zagotavljajo razpoznavnost in dokazujejo njegov osebni slog. Tega je avtor skrbno in dosledno razvijal tako v pogledu vsebinske naravnanosti, kot tudi znotraj formalnega repertoarja svojih likovnih prvin. Vsekakor pa je tudi ena izmed temeljnih znacilnosti Bratuševih li­kovnih postopkov – nizanje sorodnih likovnih elementov v nove sklope, v nove variacije na doloceno temo. Avtor na ta nacin nenehno dograjuje svoje motivne sisteme, jih izpopolnjuje ter preobraža. Njegov namen ni doseci le ene same dodelane podobe, ampak njene temeljne znacilnosti nenehno peljati naprej, k novim sorodnim rešitvam. Bratuševe motive si je torej treba ogledovati v njihovi širini, jih spoznavati v ponujenih nizih sorodnih tem, kaj-ti šele v tej povezavi nam ponudijo jasnejšo sliko umetni­kovega nagnjenja k nenehnemu pretvarjanju in stopnje­vanju obravnavane likovne tvarine. In še nekaj je ocitno: slikar pri snovanju novih izpeljank v bistvu vodi proces razkrajanja dolocene konkretne forme. Avtor sam tudi trdi, da pri dokoncnem izoblikovanju motivov išce izse­ke in izreze s postopkom, ki je podoben fotografskemu zoomiranju. Oblika, ki se je porodila v tem izrezu, nato sama »odloci« ali ima koncna podoba lika prevladujoce znacilnosti cloveške figure ali pa so v njej bolj izrazite lastnosti pokrajine. Bratušev motivni svet kljub vsemu ni pretirano raznolik, saj ga tvorijo sorodne prvine, oble in šiljaste geometrijske tvorbe, skladne koloristicne izpeljave, organskost vsega, kar se pojavi v njegovih podobah. To so naravne vegetabilne forme, to so razpoznavni elemen-ti tektonike pokrajine, to so konkretni in razpoznavni » predeli« cloveškega telesa. Vendar je vse že »predelano« in pregneteno, ocišceno nepotrebnih podrobnosti in zre­ducirano na osnovni videz, pomen in znacaj forme. To osnovno nacelo sestavljivosti stalno ponavljajocih se ele­mentov Bratuševe likovne govorice je mogoce spremljati skozi vse njegove slikarske in graficne cikle. Zato so tudi vsa prepletanja in povezovanja razlicnih vsebin enako lo-gicna in razumljiva v vseh njihovih razsežnostih. Ceprav se v Bratuševem opusu lahko sklicujemo na umetnikov izvorni primorski temperament, je njegov ustvarjeni svet enakovredno obdarjen s premišljenostjo in racionalnimi potezami, na katerih tudi temeljijo njegova likovna raz­iskovanja. Ce je pri Bratuševih figuralnih kompozicijah v mno­gih primerih mogoce razkriti nacelo križne kompozicije, lahko to opazimo tudi v vrsti njegovih krajinskih podob. Izrazita horizontala in njen stik z vertikalo dajeta tem sli­kam trdno kompozicijsko shemo. Hkrati nosita doloceno simboliko in izrazito nagnjenost k sublimnosti. Pokrajini dajeta cloveški znacaj, figuri prinašata zemeljsko trdnost. Bratuševe likovne preobrazbe imajo notranji in zuna­nji ritem. V vsebinskem pogledu jih vlece k ustvarjanju prepricljivih likovnih razglabljanj, o cloveku, o njegovem življenju, o njegovem fizicnem in duhovnem okolju. Slikar vztrajno prepleta vsebine, ki jih je doživljal in likovnopodoživljal s svojimi lastnimi zgodbami. Želi ustvariti samosvoje idealne podobe, ki so zrcalna podoba njegove obcutljive duše. Ne glede na to, kakšen osnovni motiv v njih prevladuje, s kakšno napetostjo so prežete, so slogov-no enotne in sklenjene v celoto. Vsekakor so izpolnjene z jasnimi znamenji umetnikove zrelosti. Iztok Premrov Transformations in paintings One of the motifs cultivated quite intensively by Lucijan Bratuš is certainly the landscape, and on this occasion for the first time this motif will be exhibited to the public in an integral form. Similar to other motifs in Bratuš’s artistic development, which experienced constant transformations, his landscapes have also undergone the same process. In his art, the funda­mental metamorphosis appears in the process of transition from a realistic image to the increasingly reduced and refined detail, which ultimately moves into pure abstraction. Another such fundamental metamorphosis in Bratuš’s art is linked to the transition, or better, transformation of one recognisable motif to another. If the basic and most recognisable of his motif is, for instance, anthropomorphic, Bratuš’s digressions in the process of transformation can be altered into the landscape and vice versa. The series entitled Telo pokrajine (The Body of the Landscape) certainly manifests all these art procedures in his creative work. It is clear that the artist has developed and implemented these procedures on such foundations which ensure their recognisability and testify to his personal style. This style has been carefully and consistently developed by the artist, focussing on the evolution of its themes and on the development of the formal repertoire of artistic elements. For example, one of the fundamental characteristics of Bratuš’s art procedures is lining up a series of related artistic elements into new sets, new variations on a particular theme. In this way, the artist constantly upgrades his system of motifs, and also per­fects them and transforms them. His intention is not to create a single perfected image, but to constantly take its fundamental characteristics forward towards new related solutions. Bratuš’s motifs should therefore be viewed in the sense of their breadth, and recognised in the suggested series of related themes. It is only in relation to these that they can offer a clearer picture of the artist’s inclination towards constant transforma­tion and intensification of the matter treated in the work of art. One other thing is quite obvious: in the creation of new deriv­atives, the painter actually conducts the process of decomposi­tion of a particular concrete form. Even the artist himself claims that, in the final creation of motifs, he looks for snippets and cut­outs with a procedure reminiscent of zooming in photography. The form conceived this way then “determines” whether or not characteristics of a human figure are more dominant in the final image of the form or it is the features of the landscape that are more expressively pronounced. In spite of it all, Bratuš’s world of motifs is not overly diverse, since it is composed of relat­ed basic elements, oblique and pointed geometric formations, balanced colour derivations, the organic features of everything that appears in his images. Among his motifs we find natural vegetation-like forms, distinctive elements of the tectonic land­scape, and concrete and distinctive “areas” of the human body. However, everything is already “processed” and transformed, cleared of unnecessary details and reduced to the basic image, sense and character of the form. This fundamental principle of Bratuš’s artistic discourse, which consists of combining con­stantly repetitive elements, can be found in all of his series of paintings as well as graphic works of art. This is why all inter­twining and interconnecting of different contents are equally logical and understandable in all their dimensions. Although Bratuš’s original temperament, typical of the Slovene Littoral, can be noticed in his oeuvre, his creative world is equally en­dowed with deliberate and rational strokes, which also provide one of the foundations of his artistic explorations. The principle of cross composition can be found in a num­ber of Bratuš’s figural compositions, similarly, this can also be noticed in many of his landscape motifs. A distinct horizontal and its contact with the vertical provide a solid compositional scheme for these paintings. At the same time, they bear a cer­tain symbolism and a distinct openness to sublimity. They give a human character to the landscape, and an earthy solidity to the figure. Bratuš’s art transformations have an inner and outer rhythm. In terms of content, they are drawn to the creation of convinc­ing artistic reflections on human beings, on their life, on their physical and spiritual environments. The painter persistently combines the things he has experienced and re-experienced in his art with his own stories. He wishes to create unique ideal images, which are a reflection of his sensitive soul. Regardless of the basic motif that dominates in them or the tension with which they are permeated, his paintings are stylistically uni­form and form a unified whole. Bratuš’s paintings are certainly accomplished with clear signs of the artist’s maturity. Prevod/Translation: Nataša Hirci in Nike K. Pokorn Lucijan Bratuš akad. slikar in gra.k Rojen 16. februarja 1949 v Vipavi. Osnovno šolo je obiskovalv Vipavi, nato se je vpisal na Šolo za oblikovanje v Ljubljani. Jeseni 1967 je bil sprejet na Akademijo za likovno umetnost v Ljubljani in leta 1971 diplomiral na oddelku za slikarstvo (pro-fesorja Nikolaj Omersa in Maksim Sedej). Leta 1973 je zakljucil še specialisticni študij gra.ke pri prof. Marjanu Pogacniku. Od leta 1974 do 1995 je imel status samostojnega kulturnega delavca. V pedagoški proces na Akademiji za likovno umetnost in oblikovanje Univerze v Ljubljani je bil aktivno vkljucen od leta 1987, najprej kot zunanji sodelavec, od leta 1995 pa kot pro-fesor do upokojitve 2015. Ukvarja se s slikarstvom, umetniško gra.ko, kaligra.jo in gra.cnim oblikovanjem. Tipografski opus obsega oblikovanje crkovnih vrst, znakov, grbov, logotipov in knjižno oblikovanje. Od leta 1970 razstavlja samostojno ter sodeluje na razstavah slikarstva, gra.ke in oblikovanja doma in v tujini. Izbor obsega sedemdeset samostojnih in vec kot sto osemdeset skupinskih razstav doma in v tujini. Za svoje delo je prejel šestnajst nagrad in priznanj. Udeležil se je tudi številnih likovnih kolonij in simpozijev. Lucijan Bratuš A painter and print-maker Lucijan Bratuš was born on 16 February 1949 in Vipava where he also received his primary education. He then moved to Ljubljana where he, after finishing his studies at High School for Design and Fine Arts, in 1967 enrolled to the Academy of Fine Arts at the University of Ljubljana. He graduated in painting in 1971, and in 1973 he finished a specialized course in print-making under the supervision of Professor Marjan Pogacnik. Bratuš worked as a self-employed in culture from 1974 to 1995. In 1987 he started teaching at the Academy of Fine Arts and Design of the University of Ljubljana, first as a part-time teacher, and from 1995 as a full-time professor until 2015 when he retired. His areas of interest are painting, print-making, caligraphy and graphic design. He also works in the field of typography and designs fonts, signs, emblems, logos and books. Since 1970 he has had more than 70 solo exhibitions and participated in more than 180 collective exhibitions in Slovenia and abroad. He has received 16 awards for his work and has taken part in numerous artists’ colonies and art symposia. Samostojne razstave / Solo Exhibitions 1970 – Kranj, Galerija v Mestni hiši, lesorezi; 1971 – Kamnik, Razstavišce Veronika (Bratuš–Perko), litogra.je; 1972 – Nova Gorica, Galerija Meblo (Bratuš–Nemec), lesorezi; – Koper, Galerija Meduza (Bratuš–Nemec), lesorezi; 1973 – Kostanjevica na Krki, Lamutov likovni salon, litogra.je; – Abbiategrasso, Libreria Shalom, litogra.je; – Milano, Libreria Camponuovo, litogra.je; – Ljubljana, Koncertni atelje dss, litogra.je; 1974 – Ljubljana, Študentsko naselje, slike; – Hercegnovi, Galerija doma jla, slike in risbe; 1975 – Vipava, Avla kina, litogra.je; – Split, Klub Tribine mladih, slike in risbe; – Zagreb, ns Trešnjevka, slike in risbe; 1976 – Ajdovšcina, Pilonova galerija, slike; – Piran, Mestna galerija, slike; – Nova Gorica, Galerija Meblo, slike; 1977 – Solkan, Galerija OŠ, slike; – Gorica, Italija, Galleria La Bottega, slike; 1978 – Ljubljana, Galerija Labirint, slike; 1979 – Radenci, Razstavni salon Radin, slike; – Ljubljana, Mala galerija, slike; 1980 – Kranj, Galerija v Prešernovi hiši, risbe in skice; 1981 – Trst, Slovenski klub, slike; – Zemono pri Vipavi, Salon pohištva, litogra.je; – Ljubljana, Inštitut Jožef Stefan, slike; – Kranj, Mala galerija, slike; – Ljubljana, Železniški šolski center (Bratuš–Prokofjev), slike; 1982 – Postojna, Knjižnica Bena Zupancica, slike; 1983 – Preserje, Galerija Želva, slike; – Kranj, Galerija v Prešernovi hiši, slike; 1984 – Ljubljana, Galerija dslu, slike; 1985 – Ajdovšcina, Pilonova galerija, slike; – Novo mesto, Dolenjska galerija, slike; – Radovljica, Galerija Šivceva hiša, slike; – Nova Gorica, Galerija Meblo, slike; – Koper, Galerija Meduza, slike; 1986 –Trst, Galerija TK, akvareli – Ljubljana, Galerija Polje, slike in litogra.je; 1987 – Sežana, Kosovelova knjižnica, litogra.je; 1988 – Ljubljana, Galerija zdslu, predstavitev pesniške mape; 1989 – Sežana, Kosovelova knjižnica, litogra.je in pesniška mapa; – Škofja Loka, Knjižnica Ivana Tavcarja, litogra.je in pesniška mapa; 1990 – Ljubljana, Cankarjev dom, razstava Manu scriptum, kaligra.ja; – Ajdovšcina, Pilonova galerija, slike; – Nova Gorica, Gimnazija, slike; 1991 – Nova Gorica, Kreativni atelje Klavdija Tutte, slike in kaligra.ja; – Ljubljana, Galerija Krka, slike; 1992 – Tinje, Avstrija, Dom kulture Sodalitas, gra.ke; – Mengeš, Osnovna šola, gra.ke; 1993 – Ljubljana, Galerija Lerota, gra.ke; – Nova Gorica, Galerija Artes, gra.ke; 1995 – Ljubljana, Inštitut Jožef Stefan, gra.ke; 1998 – Gorica, Italija, Galerija Ars, gra.ke; – Maribor, Galerija Ars sacra, gra.ke; – Škofja Loka, Knjižnica Ivana Tavcarja, gra.ke; – Ajdovšcina, Lavriceva knjižnica, gra.ke; 1999 – Skopje, Skopsko poletje, Galerija kulturnega centra, gra.ke in kaligra.ja; 2000 – Ljubljana, Zavod sv. Stanislava, kaligra.ja; 2005 – Recica ob Savinji, Avla osnovne šole, gra.ke; 2007 – Ljubljana, Atrij v Mestni hiši, Pogled v tipografsko delavnico; 2008 – Ljubljana, Finžgarjeva galerija, kaligra.ja; 2009 – Ajdovšcina, Pilonova galerija, risbe, skice, kaligra.ja; – Ljubljana, Galerija Lek, gra.ke; – Velenje, Galerija Velenje, gra.ke; – Sežana, Kosovelov dom, slike; – Solkan, Galerija Tir, Mostovna, tipogra.ja; – Novo mesto, Kulturni dom Janeza Trdine, tipografija; 2013 – Strunjan, Galerija Talassa, slike; 2014 – Pula, Galerija Milotic, Bratuš, Golob, Jejcic; 2015 – Sarajevo, Galerija Akademije za likovno umetnost, litografije; 2019 – Piran, piranske cerve, Križev pot; – Idrija, Galerije sv. Barbare, slike; – Ajdovšcina, Lokarjeva galerija, slike; Pomembnejše skupinske razstave / Signi.cant Collective Exhibitions 1970 – Lesorez na Slovenskem, Slovenj Gradec; 1972 – I. trienale jugoslovanske gra.ke, Bitola; – Gra.ka mladih jugoslovanskih ustvarjalcev, Beograd; 1973 – VIII. ex tempore, Piran; 1974 – Razstava dslu, Beograd, Novi Sad; – VIII. modri salon, Zadar; 1975 – V. trienale sodobne jugosl. risbe, Sombor; – Primorski likovni umetniki, Westerbork, Schiedam (nl); – Razstava likovne kolonije Industrijski pejsaž, Katowice; – II. trienale jugoslovanske gra.ke, Bitola, Skopje; – Razstava 30 let Akademije za likovno umetnost, Ljubljana; 1976 – XV. likovna srecanja, razstava gra.ke, Subotica, Pécs, Opole, Lahti; – Bienale Intart, Celovec, Videm, Ljubljana; – Primorski likovni umetniki 76, Ajdovšcina, Treviso, Ferrara, Koper, Emmen, Delft, Piran, Nova Gorica; – Gra.cna zbirka Dravskih elektrarn, Celovec; – Likovni salon 13. november, Cetinje. 1977 – Likovna zbirka Bernardin, Ljubljana; – Sodobna mlada gra.ka, Pariz, Chateauroux; – IX. bienale mladih, Rijeka; 1978 – Prijatelji Vena Pilona, Ajdovšcina; – III. trienale jugoslovanske gra.ke, Bitola; 1979 – Slovenska likovna umetnost 1945–1978, Ljubljana; – X. bienale mladih, Rijeka; 1980 – Razstava mladih slov. umetnikov, rojenih po 1945, Ljubljana; – Razstava likovnih del kolonije Srebrenik 1977–1980, Srebrenik; 1981 – Sedemnajsta razstava slikarske kolonije Izlake, Zagorje; – IV. bienale risbe, Priština; – II. bienale akvarela, Karlovac; – XI. bienale mladih, Rijeka, Budimpešta, Lódz, Wroclaw; – VII. razstava suluj, Skopje; – Razstava skupine Laborattorio 7, Benetke, Passariano, Locnik, Gorica; 1982 – XX. lik. susret, Razstava ilustracija, tipogra.ja, pisava, Subotica; – Razstava gra.cnega oblikovanja ob 30–letnici dos, Ljubljana; – Razstava sodobnega gvaša, Radenci; 1983 – Mala gra.ka, Innsbruck, Schwaz, Beljak; – Razstava iv. nikšicki likovni susreti, Nikšic; – Šest slovenskih gra.kov, kic London, Pariz, Stuttgart, Dunaj, New York, Celovec; – Jugoslovanski trienale keramike, Beograd, Subotica; – Gra.cni trenutek Slovenije, Niš, Varaždin, Velika Gorica, Cacak, Koprivnica; – Aktualnost .gure, Razstava dslu, Ljubljana; 1984 – II. razstava sodobnega gvaša, Radenci; – Razstava slikarske kolonije Sicevo, Niš; – Razstava slovenske gra.ke, Esslingen, Velenje; 1985 – Jugoslovanska gra.ka 1950–1980, Beograd; – Razstava gra.cne mape primorskih umetnikov, Gorica, Trst, Nova Gorica, San Vendemiano; – VI. bienale risbe, Priština; – XXIV. likovni susret, Umetniške kolonije akvarela, Subotica; 1986 – Jugoslovanska gra.ka 1950–1980, Ljubljana; – Bienale slik malega formata, Split; – Razstava kolonije akvarela, Ecka; 1987 – IV. mednarodna razstava Mali format na papirju, Couvin, (B); – IV. razstava male gra.ke, Seul; 1988 – V. evropski bienale gra.ke, Heidelberg; – V. razstava male gra.ke, Seul; 1989 – xxvii. likovna srecanja, Gra.cne kolonije Jugoslavije, Subotica; – I. bienale slovenske gra.ke, Otocec; – VI. bienale akvarela Jugoslavije, Karlovac, Novi Sad, Ljubljana; – Razstava 10+10, Zagreb, Ljubljana; 1990 – Razstava gra.ke, Fridrikstad, Norveška; – VI. razstava male gra.ke, Seul; – 25 let Ex tempora, Piran; 1991 – I. gra.cni natecaj Alpe Adria, Beljak; – Slovenska gra.ka, Galerija likovnog susreta, Subotica; – Listi iz gra.cnega ateljeja Likovnih srecanj Subotica, Galerija Kulturnega centra Novi Sad; 1993 – Majski salon 93, Ljubljana; – XX. mednarodni gra.cni bienale, Ljubljana; – XII. mednarodna gra.cna razstava, Seul; 1995 – Razstava sodobne slovenske gra.ke, Singen, Nemcija; – Razstava del profesorjev ob 50-letnici alu, Ljubljana; 1997 – Kaligra.ja v Sloveniji, Schriftmuseum Pettenbach (A); – Razstava zdslu, Fulda; – XVII. slikarski teden, Svece, Avstrija; 1998 – Slovenska gra.ka, Osaka, Japonska, Pias gallery, Kobe Art Aid; – Gra.cna zbirka mglc, Cankarjev dom, Ljubljana; 2000 – 35. mednarodni slikarski ex tempore, Piran; – Razstava mednarodne likovne kolonije Kicevo, Skopje; 2002 – Odtisi s kamna, mglc, Litogra.ja v Sloveniji po 1950; 2003 – Kdo uci, Ljubljana, Galerija Kresija; 2004 – Bookmark, razstava crkovnih vrst, Museum Meermanno, Den Haag, Nizozemska, Ljubljana; 2006 – Zakladnica slovenske gra.ke 1955–2005, Skopje; – Privlacnost matrice, Lesorez v Sloveniji v 20. stol. mglc, Ljubljana; 2008 – Zakladi slovenske gra.ke 1955–2005, Ljubljanski grad; – Primorski likovni umetniki, Galerija zdslu, Ljubljana, Pula; 2009 – Mestna galerija Ljubljana, risbe 2012 – Slovenia Open, razstave: Sežana, Idrija, Radovljica; – Primorski likovni umetniki, Lokarjeva galerija, Ajdovšcina; 2013 – Majski salon, Ljubljana, Maribor, Dunaj; – Zagorje, razstava likovne kolonije Izlake; – IX. mednarodno likovno srecanje, Vipavski Križ; 2014 – Majski salon, Ljubljana; 2015 – XVIII. mednarodna likovna kolonija, Ljubljana Festival, Križanke 2016 – Likovna zbirka Bernardin, Mestna galerija Piran; – Ajdovšcina, Mini Castra; 2019 – Kranj, Festival kulture; Likovne kolonije in simpoziji / Nagrade in priznanja / Fine Art Workshops and Symposia Prizes and Awards 1971 – IV. likovna kolonija mladih, Ivanjica; 1972 – V. likovna kolonija mladih, Ivanjica; 1975 – Mednarodna likovna kolonija Industrijski pejsaž, Katowice; 1976 – Mednarodna slikarska kolonija, Prilep; 1977 – Mednarodna slikarska kolonija, Pocitelj; 1978 – Slikarska kolonija, Srebrenik; – Slikarska kolonija Cimos, Šempeter pri Gorici; – Gra.cna kolonija, Ško.a Loka; 1979 – Keramicni simpozij, Liboje; 1980 – Mednarodna slikarska kolonija, Izlake; 1981 – Slikarska kolonija Prohor Pcinjski, Kumanovo; 1983 – Gra.cna kolonija, Gevgelija; 1984 – Slikarska kolonija, Sicevo; 1985 – Kolonija akvarela, Ecka; 1988 – Majska slikarska kolonija, Ajdovšcina; 1989 – Gra.cni atelje, Subotica; 1992 – Mednarodno likovno srecanje v ateljeju Tutta, Nova Gorica; 1993 – Mednarodna slikarska kolonija, Zakojca; 1994 – Mednarodna likovna delavnica, Sinji vrh nad Ajdovšcino; 1995 – Slikarska kolonija, Dunaj; 1997 – 17. slikarski teden, Svece na Koroškem; 2000 – Mednarodna slikarska kolonija, Kicevo, Makedonija; 2001 – Mednarodna slikarska kolonija, Izlake; 2003 – 6. mednarodna slikarska kolonija, Nova Gorica; 2004 – Slikarska kolonija, Lipovci; 2006 – Slikarska kolonija, Moravske toplice; – Slikarska kolonija, Lipovci; 2007 – Slikarska kolonija, Moravske toplice; 2008 – Slikarska kolonija, Zibika–Tinsko; 2010 – Resavica, Senjski rudnik, Srbija, Lik. kolonija beograjske akademije; 2011 – Slikarska kolonija, Kum; – Slikarska kolonija, Mozirje; 2012 – Sinji vrh, Slovenija Open, mednarodna likovna kolonija; – Mednarodna likovna kolonija Pocitelj; – Slikarska kolonija, Mozirje; 2013 – 9. novomeški likovni dnevi, Novo mesto; – 50. slikarska kolonija Izlake; – Sinji vrh, Likovna kolonija z ukrajinskimi umetniki; 2014 – Sinji vrh, Slovenija Open, mednarodna likovna kolonija; 2015 – XVIII. mednarodna likovna kolonija, Ljubljana Festival, Križanke; 2019 – Dobrovnik, 16. likovna kolonija Vino Art; – Vukovje / Pernica pri Mariboru, 9. Sorajske vibracije; – Sinji vrh, Likovna kolonija Karitas (udeležba od 1995); – Zalpana, 6. simpozij; 1969 – Študentska Prešernova nagrada alu za gra.ko, Ljubljana; 1971 – Nagrada na razstavi IV. likovne kolonije mladih, Ivanjica; 1975 – Nagrada mesta Ruda Slaska, na razstavi likovne kolonije v Katowicah; 1976 – I. nagrada na XI. ex tempore, Piran; 1977 – Nagrada Zlata ptica, Ljubljana; 1981 – III. nagrada na I. ex tempore, Marezige; 1982 – Velika nagrada za kaligra.jo, Subotica; 1991 – I. nagrada za gra.ko v Subotici; 1993 – I. nagrada na slikarskem ex tempore, Šmartno v Brdih; – Nagrada za najlepšo slovensko knjigo; 2000 – Diploma za kolekcijo, Ex libris, Škofja Loka; – Castna pohvala na 17. bio, Ljubljana; 2003 – Priznanje odlicnosti na I. bienalu vidnih sporocil, Ljubljana; 2005 – Priznanje odlicnosti in priznanje mentorju na II. bienalu vidnih sporocil, Ljubljana; 2006 – Priznanje na razstavi Piši cirilicom, Beograd; 2016 – Nagrada na razstavi akvarela Mini Castra, Ajdovšcina Bibliogra.ja predstavitev in kritik o delu Lucijana Bratuša / Bibliography of Presentations and Reviews of the Work of Lucijan Bratuš. 1970 – Andrej Pavlovec, Skromna – elegantna gra.ka, Dnevnik, 12. 11. 1970; 1972 – Marijan Tršar, predgovor v katalogu, razstava gra.k, Salon Meblo, Nova Gorica, 1972; 1973 – Milko Rener, predgovor v katalogu, razstava litogra.j, Milano; – Brane Kovic, Uspeh mladega gra.ka v Milanu, PrimN, 25. 5. 1973; – Aleksander Bassin, predgovor v katalogu, razstava litogra.j, Lamutov likovni salon, Kostanjevica na Krki, 1973; – Janez Mesesnel, Iskanje in boj, Delo, 6. 7. 1973; 1974 – Aleksander Bassin, Bratuševa gra.ka, Nrazgl, 8. 3. 1974; – Brane Kovic, Ekspresivna .guralika, PrimN, 24. 5. 1974; – Tilka Lavric, Bratuševo slikarstvo, Dnevnik, 24. 5. 1974; 1975 – Darinka Kladnik, Obtok, vracanje, Dnevnik, 8. 7. 1975; – Brane Kovic, Bratuševa in Cernigojeva gra.ka in poezija, PrimN, 27. 6. 1975; – Brane Kovic, predgovor v katalogu, razstava slik in risb, Klub Tribine mladih, Split, 1975; 1976 – Brane Kovic, predgovor v katalogu, razstava slik, Ajdovšcina, Piran, Nova Gorica, 1976; – Lojze Bizjak, Lucijan Bratuš v Pilonovi galeriji, PrimN, 27. 2. 1976; – Brane Kovic, Umirjen kolorit, Delo, 25. 3. 1976; – Janez Mesesnel, Napredek na mnogih ravneh, Delo, 16. 4. 1976; – Brane Kovic, Nove slike Lucijana Bratuša, PrimN, 1. 4. 1977; 1977 – Brane Kovic, predgovor v katalogu, razstava slik, Galleria La Bottega, Gorica, 1977; – F. M. (Fulvio Monai), Lucijan Bratuš, Il Piccolo, 4. 6. 1977; – Blaž Ogorevc, Najtežje si je izmisliti naslov, Mladina, 23. 6. 1977; 1978 – Brane Kovic, predgovor v katalogu, razstava slik, Galerija Labirint, Ljubljana, 1978; – Franc Zalar, Akt v spreminjanju, Dnevnik, 15. 7. 1978; – Brane Kovic, Novejša dela Lucijana Bratuša, Mladina, 20. 7. 1978; 1979 – Brane Kovic, predgovor v katalogu, razstava slik, Mala galerija, Ljubljana, 1979; – Janez Mesesnel, Izrazne ikone, Delo, 8. 11. 1979; – Franc Zalar, Motiv je akt, Dnevnik, 8. 11. 1979; – Igor Gedrih, Lucijan Bratuš v Mali galeriji, Prosvetni delavec, 6. 12. 1979; 1980 – France Pibernik, predgovor v katalogu, razstava pesniške mape Nerezine, Galerija v Prešernovi hiši, Kranj, 1980; 1981 – France Pibernik, Gra.cni prostor poezije, Nrazgl, 16. 1. 1981; – Brane Kovic, predgovor v katalogu, razstava slik, Institut Jožef Stefan, Ljubljana, 1981; – France Pibernik, predgovor v katalogu, razstava slik, Mala galerija, Kranj,1981; – Franc Zalar, Cudež v Šiški, Dnevnik, 4. 12. 1981; 1982 – Brane Kovic, predgovor v katalogu, razstava slik, Knjižnica B. Zupancica, Postojna, 1982; 1983 – Brane Kovic, predgovor v katalogu, Galerija Želva, Preserje, 1983; – France Pibernik, Iz slikarjevih skicirk Lucijana Bratuša, Nrazgl, 10. 6.; 1984 – Brane Kovic, predgovor v katalogu, razstava slik, Galerija dslu, Ljubljana, 1984; – Franc Zalar, Barvna resnica o ženskem telesu, Dnevnik, 15. 12. 1984; 1985 – Maruša Avguštin, Lucijan Bratuš v Šivcevi hiši, Glas, 27. 8. 1985; – Maruša Avguštin, Iskanje novega, Delo, 31. 8. 1985; 1986 – Smilja Juras, Izreka resnice o telesu, Bilten ukc, Ljubljana; 1986 – Nives Marvin, predgovor v katalogu, razstava slik, Galerija R, Ajdovšcina, 1989; 1991 – Milcek Komelj, Vprašanje Bratuševega kaligrafskega ekspresio­nizma (razstava v novogoriškem Kreativnem ateljeju Klavdija Tutte). Reprodukcije slik in gra.k. NRazgl, 22. 3. 1991; – Janez Mesesnel, Ekspresivni naglas sinteze. Delo, 25. 6. 1991; 1994 – Nina Klun, Lucijan Bratuš, clovek, ki v casu racunalnikov najraje piše s trstiko, Lucas, april 1994, leto 4, št. 1/2, str. 29–32. 1995 – Marijan Tršar, predgovor v katalogu, razstava slik in gra.k, Inštitut Jožef Stefan, marec 1995; 1997 – Veliki splošni leksikon dzs, I. knjiga, str. 501, Ljubljana, 1997 1998 – Jurij Paljk, predgovor v katalogu razstave, razstava gra.k, Galerija Ars, Gorica, Italija, 1998; – Jurij Paljk, Trdna vera v cloveka v likovni pripovedi, Galerija Ars – razstava Lucijana Bratuša, Primorski dnevnik, let 54/ št. 74 (28. III. 1998) – Gorazd Kocijancic, predgovor v katalogu razstave litogra.j, Galerija Ars sacra, Maribor, 1998; – K. S. Svet, kot ga vidi Lucijan Bratuš, Družina, 28. nov. 1998; 1999 – Gorazd Kocijancic, predgovor v katalogu kaligrafske razstave, Skopje, 1999; 2000 – Gorazd Kocijancic, V zacetku je bila Beseda, predgovor v katalogu razstave, Ljubljana, 2000; 2004 – Gorazd Kocijancic, Tistim zunaj, Eksotericni zapisi 1990–2003, kud Logos, Ljubljana 2004; 2009 – Gorazd Kocijancic, Ce je tvoje oko cisto …, besedilo v katalogu razstave, Pilonova galerija Ajdovšcina; – Jožef Muhovic, Lucijan Bratuš – risar nad samotnim breznom, besedilo v katalogu razstave, Pilonova galerija Ajdovšcina; – Iztok Premrov, Med dinamiko in statiko, besedilo v zloženki razstave, Galerija Lek, Ljubljana; – Aleksander Peršolja, Je res, so prividi?, besedilo v zloženki razstave, Kosovelov dom, Sežana; – Anamarija Stibilj Šajn, Slikarstvo Lucijana Bratuša, besedilo v zloženki razstave, Kosovelov dom, Sežana; – Milcek Komelj, Barviti inkarnat Bratuševe kaligrafske slikarske risbe; 2012 – Jožef Muhovic, Lucijan Bratuš – risar nad samotnim breznom, v: S slikarstvom na štiri oci, Raziskovalni inštitut aluo, Ljubljana; 2013 – Dejan Mehmedovic, besedilo v katalogu razstave, Strunjan 2019 – Milcek Komelj, Bratuševa slikarska afirmacija življenja, besedilo v katalogu razstave, Lokarjeva galerija Ajdovšcina; 2019 – Iztok Premrov, Likovne preobrazbe, besedilo v katalogu razstave, Galerija s. Barbare, Idrija;