This time around Andrej Trobentar’s exhibition in Bežigrad Gallery features more of his fine art and music. Some of his works in the washed tempera technique have already been put on display in Bežigrad Gallery 1 as early as in 1988. In the past decade, however, Trobentar focused on drawings which have a similar feel as his creations in washed tempera, just the strokes are different. Both techniques share some common features, such as coexistence and recurrent elements. The only difference is the way light comes to the surface. Washed tempera allowed the light to peek through the surface, but now the light comes from the paper itself. Despite all that, light still plays a vital role as it always has from beneath the surface.
The drawings from the last decade are often images within images. They are designed in a way that is similar to the works from the 1980s, hinting at minimalist experience from our lives where a mere word is enough for an explanation of our actions and the wish for coexistence or... He translates his view of the concrete world into his artistic perspective; everything he has experienced he relives through his artwork. The truth and reality of everything are at the core of Andrej Trobentar’s life and creative work. People give a name to everything they see. Well, almost everything. What was left out is now forgotten. But not forever. Unlike the rest of us, Trobentar uses fine art and music to see whether anyone else noticed that their perspective is always a beginning of something new. This is exactly what Trobentar is intentionally trying to depict time and time again. The extreme aesthetics and beauty of his artwork show that our human life is also a piece of art.
Miloš Bašin

I construct a painting as a building in space.
A building
The home of the spirit with a place in improvisation
Because the spatial position shared by the medium is the claimed and the only true base of the innovation. The penetrator has not claimed anything yet. The painting stares at the actor because it already has a historical memory. The actor is merely a clown that bows down to the painting just like a full ear of wheat. The picture's place is, in fact, a visible part of the past, which tells the creator on what, where and how to place the white vertical line of balance before reason takes over. With no account of claims that the penetrator allowed himself to think of even as a Histoire de Folie, but in absolute harmony with the edge. The body is guided by the thought that is encapsulated by reason. In this way, it gives a place to the unconscious so that the painting becomes the medium of the aesthetics without the penetrator of photographic habit. The illusion blends with geometrisms (vertical, horizontal, diagonal, just as required by the format, e.g. rectangle, square, triangle, circle) like a perfectly placed passage guided by gravitation. My set up consists of a square, a rhombus and a circle–a platform of unity, a trinity in the speech of sight–ancient crystals. Formations that give rise to all morphology, just like the sphere, the cylinder and the cone did for Cézanne. This iconography introduces analysis and synthesis of cubism. Blending and following M. Louise’s instructions to a given improvisation that uses (visible!) deletions to sharpen a visible sentence into a complete whole. The free gesture of G. Mathieu’s example brings my program to a close. A free gesture, “push-pull” at the forefront, provides a carefully planned luminous gesture. As such, it represents the freest breeze within a precisely coordinated combination of colours and shapes.
To me, clearly visible free speech is a universal key of the civilisation at the level of unique order of the cosmos and all of its planets. If the luminous gesture wasn’t free, it would not have had a solid and clear base.
Andrej Trobentar