Kaja Upelj: Where there's nothing else left, hold me tighter

In this exhibition of all new work, Upelj portrays emotional simulation of nature, warning us about its fragility due to our action. The title of exhibition exposes, that in the time we have dominated nature entirely, we can only rely on each other, and seek comfort and similarities within human race. Sculptural orchestration between glass, marble and metal, otherwise masculine materials, which are notoriously unwidely in practice, Kaja undermine expectation of materials by incorporating the body, both as a form and as a medium, creating objects reminiscent of bodily gestures, movements and interactions.

At times lifeless and cold, a simple piece of glass has often the capacity to transfix and even capture life. It is a medium at once calming and seductive; drawing us in with its unique combination of elegance and sturdiness, it positively lures us to touch and explore the material. Tactile silky surface, glass formed in drops, and iridescent subtle flow within clear glass, appeared to breathe life into each object. Upelj intentionally expands her practice into carving marble, because like glass, it represents challenging medium that requires time and patience to create, just as it takes time to develop a meaningful relationship.

With this exhibition, audience is invited to connect with the artist by getting an insight to her closest and most valuable relationships she has with her family. Each of the sculptures is portraying emotional bond with individuals, such as her mother, father, brother, partner and her grandmother, giving so-called cold materials rhythm of emotions, and making compassion, love and other fleeting energies tangible. All artworks are shaped from the body, because it is the place where emotions are most directly registered, and where excitement, sorrow, fright can be easily showed.

Rising from the ground, underneath the artworks, a series of cement and metal pedestals are imitating our urban environment, which alongside three photographic images from visual artist David Barreiro, encapsulate us within the current space and time. Photographs themselves present a form of relationship of their own, with united drill bits, composition of pliers and other combined metal parts, the objects that enable us domination of nature compete with empathy shown at Kaja`s artworks. Togetherness can be sensed in both David's images and Kaja`s artwork, however one represents emotional connection, while other purely physical.

Did Kaja managed to give life to materials, or are the object merely unsuccessful simulation of empathy only capable by humans?

Kaja Upelj (b.1992) is a Slovenian visual artist working between Slovenia and the United Kingdom. She graduated from the Royal College of Art (2018) specializing in glass, prior to that she received BA in Academy of Fine Arts and Design in Ljubljana (2016). During her MA, Upelj developed a technique where iridescent colours occur from chemical reactions within glass. Kaja has won numerous scholarships and award, including being named a Queen Elizabeth Scholarship Trust Scholar in the UK and one of the global emerging young talents at New Horizons 2018 in China. She has exhibited internationally, showing in art fairs such as Collect in London, Miart and Milan Design Week in Milan as well as in Nomad Circle situated in various cities. Her latest work was exhibited at Design Miami this November.

David Barreiro (b.1982, Pontevedra, Spain) is a photographer and visual artist currently living and working in London. In his practice, he focuses on social constructions and their role in the configuration of identity categories and institutionalised activities. His photographs fluctuate between the literality of documentary photography and the evocative tension and artificiality of the staged image.

 

Exhibition organizer: Kaja Upelj with the support of the Ministry of Culture