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| Full information about the artist |
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| First Name | Boris |
| Last Name | SELAN |
| Born | 1940-07-03 |
| Country | Slovenia |
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| Biography | |
BORIS SELAN was born 1940 in Brezovica near Ljubljana. In 1960 he graduated at Ljubljana University, faculty for desing. In 1968, after some exhibitions, he became a member of DOS (Slovene Association of Designers).
Since then he has been working as free lancer. He lives in Vinjole near Portoroz, respectively Lucija. Majority of his art pieces are created in his studio in Medvode.
Participation at BIO / Biennale of industrial design, Ljubljana
1964 A cinema projector 8 mm, exploring idea - models ISKRA
Table ventilator, a hand-mixer, a telephone
1968 Series of metallic colour lamps
1970 Series of lamps
1984 Katamaran Tajfun
1986 Katamaran 550 S
2000 A standing clothes hanger of massive wood
Designs and projects
1968 ELLE, Beograd,French magazine,
Spot for review and exhibition
1983 Pletenine Sezana, universal prefabricated pavilion
for the 35th anniversary exhibition
1983 Rasica, equipment for a shop in Trbovlje
1986, 1987, 1989 exhibition site in Beograd
1987 Elan, exhibition site in Begunje
1988 Vezenine Bled, exhibition site for the 50th anniversary
1989 The tavern Vrbajn, Podsmreka
1993 Labod, 1994 prefabricated exhibition site
1993 Residential house Prebil
Graphic design
Corporate visual indenty
1985 Rasica, CGP logotype, symbol for the 40th anniversary, a mascot, a calendar
1987 Tacen / rowing, a poster, charts, invitation letter
1988 Kroj, CGP coat-of-arms for the 40th anniversary, 1991 small flag, tags
1989 Ilirija, inscription 90 let, collection of pyramid candles,
the package, a golden candlestick, a folder,
a collection of shoe and leather cream
1993 MC / The Centre for Information Engineering CGP, brochure
1994 Labod, the 70th anniversary, a calendar
1996 Beti, the ideal plan for CGP, logotype Beti Therm, Beti Ski
Catalogues
1995 Labod, summer, 1994-96 seasonal brochures
1996 -1999 Beti, catalogue of bathing clothes, catalogue of underwear
1997 Ilirija, catalogue of candles
Independent exhibitions
1980 Lipica
1987 Communes near Trst
2003 The saltpans of Piran
2004 Celovec
2004 Ljubljana
2005 Kamnik
2005 Piran
2003 Ex - tempore Piran
2005 Ex - tempore Ptuj
Awards, prices
1960 The Plecnik price for the best diploma
1970 The praise of honour by BIO
1984 The praise of honour by BIO
1986 The golden medal by BIO
2003 The 1. Price on the theme of the saltpans, Extempore, Piran
BETWEEN REALITY AND ABSTRACTION /
PAINTED LEGENDS ABOUT THE SEA AND THE SALTPANS
PICTURES OF BORIS SELAN
In the past ten years in pictures of the Slovenian painter Boris Selan prevail as basic origin motif, the Slovenian littoral zone and its characteristic natural and cultural heritage. The artist's interest is mainly concentrated on the ethnological and economic particularities of this part of our country, Saltpans of Piran.
The inexhaustible treasury of the saltpan forms of appearance the painter finds initiatives for creating each time new, formally, coloured and compositionally original thoughtful painting solutions, which at the same time it is a manifestation of author's constant thinking about relationship between the natural conditions and the human needs and his ingenuity. The structural - geometrical diversity of saltpans, which consists of abandoned ditches of parched fields, patches of ground, wide dunes, pools, stony barriers, remains of stone houses of temporary saltpan workers, piles of salt on the rare restored saltpan -fields-, is a sort of tragic memento of the past, which either way inspires the painter with unstoppable creative optimism and artistic inspiration.
For saltpans, which unite human sense for practicability, rationality and also beauty, we have ascertained that they are an incredibly rich artistic material to the painter, a real runway for endless creative deep thoughts, which is always also a disciplined painter's analysis of the seen and experienced. Though they seem to be like a phenomenon stopped in time, the saltpans in Selan's pictures also appear as poetically touched visions of colour and light, which show up with the changing atmosphere of the season time and the time of the day, and steadily show new points of view of the artist's observations. This is the reason that each and every new picture of Selan represents a different and fresh variation of the same or similar theme, an unrepeatable attempt of harmony in form and colour, a cohabitation and accordance of the elements. Selan's pictures of the saltpans mostly act like a reliable diagram of the author's mental and sensual mood, which is coming up as a results of the firsthand observation of a detail of the motif or as a product of a lively association and the memories of it. Above all, we can affirm that Selan's pictures are inspired and controlled by a typical human warm Mediterranean mood. The authors thoughtful names of the pictures, such as for example: The red satiety, The pink grey contrast, The white pool, Chiara solinera, The grey-blue salt, The coral sky, The roseate green pool, to name only a few, are not what we could think they are at first moment,, the painters manner to name the results of every individual attempt of formal and coloured performance, a disciplined accordance of the elements of art, but they also hide a deeper content, a spiritual essence of the motif, some kind of door, which leads to a wider range of possible artistic experience and evaluation.
The hard, lapidary basic forms, which are often pervaded and accentuated with a sketchy darker or brighter drawing, are filled up mostly with a painted attractive -inner- content, coloured forms and spots, which are tender, a bit rounded off or almost with an amorphous effect, so that they deepen the meaning of the motif. The colours in Selan's pictures are placed on the linen either on an elementary flat manner to be effective as an ultramarine surface, melt in the light, but mostly the colour trace of the painters' brush is woolly, structurally responsive and effective in its substance.
Selan's exhibited opus of saltpans is complemented with a group of pictures, which are also in harmony with the theme of the seaside, a lump of sailing boats, anchored at the sea or in the bay. They are mostly, like the pictures of the saltpans, in content and motif connected to the littoral area and the specific Istrian stony architecture of simple cubical forms.
With the characteristic artistic manner of accession, the play with colour forms, which are sometimes accentuated by vertical, sometimes spread in a horizontal way very rhythmically or pushed into motion by a real dynamic baroque diagonal, the painter reaches in his cycles of saltpans and sailing boats the effect of an entire rhythmical and structural activity of the painting surface or even the whole expressive mood. It is also true, that even when the author almost reaches the edge of complete abstraction in his picture, he keeps a visible trace of elementary origin of motif, an image of the world that the viewer is familiar with.
The specificity of the littoral karstic world has found again its thankful interpreter in the pictures of Boris Selan, an artist, who understands and is able to present his observations and experiences in a cultured manner of painting, inspired with a strong sensuality. In fact, this is nothing new for this painter, because he spends a considerable length of his creative time in life in the world that he takes as a motif. That is why we can trust that the artistic evidence of the painter Boris Selan is also always a really sincere and personal experience. |
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| All Artwork of Artist |
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| BORIS SELAN was born 1940 in Brezovica near Ljubljana. In 1960 he graduated at Ljubljana University, faculty for desing. In 1968, after some exhibitions, he became a member of DOS... |
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Blackheaded flyer
by SELAN |
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Spinnakers through finish
by SELAN |
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