Leonard Rubins Artist Statement

exibition2 Digital technology, which has become inevitable in all spheres of human life, intensive intervention in the Fine Arts. Creators is increasingly exploited as a medium in itself or as a tool for the creation of artistic objects, which can still be termed stradicionalnimi expressions paintings, drawings, graphics and add Prefix computer. When creator thoroughly familiar with technology, is prone to experimentation, may be detected plejado manipulations and brezštevilne combinations, leading to a wide variety of expressive forms. Sometimes art works clearly reveal features which allows only digital media, its language and aesthetics, and sometimes are followed so subtle, that is without access to the procedure defined as a computer problem. The digital platform enables a wide use of manufacturing art works. Ustvarjalcu allows the original work of adding an unlimited number of identical, copies of the same quality, or that it multiplicira and mechanically reproduced terv different manifestations across the world.

The exhibition in the gallery Šivec House in Rodovljica, Leonard Rubins presents computer graphics, or components in the form of digital prints in limited and numbered series signirani large sizes and with original drawings, executed in the technique of watercolors and airbrush. This work is manifested as a unique blend of art techniques and media, and the artist's personal world. Author stems from a concept of art, which brings together the technological aspect and the expressive, creative-imaginative and the analytical-experimental approach. Pictures, as illustrations are from devedesetih years, ie from a period when the author in his artistic designing computer still does not represent a fundamental tool, the fruit of a long, lonely and patient work. Enthusiasm for the process is condensed into permanent images, which are saturated with the fine arts and narrative elements. They open us to the artist entirely personal, deep meditativnim perception of the world.

When manual traditional painting approach is replaced by a computer and develop new techniques and procedures, which include 3D graphics, collage, installation, photography, having regard to the product - uutopic and surrealistic image felt that in his artistic conception fancy borders to reach the world. The density and intensity of the story scenes is like living, growing tissue, which is dictated by the internal experience launched fantasy. Cosmic and terrestrial landscapes, little figural scenes, portraits, own image, fantastic animals and plants, symbols of popular icons ... are either in the turbulent circles, the energy centers or, conversely, expand and grow outward. Allegoric, intimate story, they appear to the many levels of composition in which the mixing of rational and Irrational, past and present, elements of myth, fairy tales, history, fiction.

Leonard Rubins meditations in their records and the creation of art, among other things, says: " ... ever considering and, to detect recurrent realization: collaging from other councils, devolved his model - fancy Scenography. The possibility of unforeseen incidents, although not endless. The only guide is the Self, which, in the process of creative work consumes peace and plenty ... Recreate it, means to conquer new software vocabulary and recommendations of coders. When shooting, scanning, render and accurate at the game, he is not improvise. It shows, however, the illusion in the form of personal interpretation of the digital versions of the world. This illusion has the speed of light, with constant approaching. In fotonic union between the creators and observers, image has - thank to Creator - a myriad of faces. In this fusion Rubins is collaging lost particles in to new whole. "

Artworks by Leonard Rubins DIRECTING HIS OWN IMAGINATION: FROM COMBINED TECHNIQUES TO COMPUTER GRAPHICS
September 1998	By Aleksandra Kostić
The paintings and the computer graphics of Leonard Rubins are extremely interesting and challenging for his public. First, because of his unusual visualizations as compared to the existing artistic guidelines of representation in Slovenia. As for the contents, intimate iconography mixes with the traditional historical iconography in an unusual and original way. As for his response to the tempting beauty of trumpery, capricious citing of history and fantastic assemblings he is close to special fantasy and celestial art, as for perfected formalism he is closest New media-visual art. Enigmatic stories are eclectic mixtures of Christian iconography and the typology of the good (Madonna, angels, sweet-tempered figures taken from cartoons...) and the evil (Satan, bats, snakes, wolves...) and their semantic relativisations through the evocation of archetypes and alchemic unions of opposite poles. Everything is interwoven with rich individual significations of dreams in abundant and glittering fantastic worlds. Graphically complex and colourful cosmic and earthly landscapes and cityscapes. Celestial architectures are sometimes close to surrealist scenographies of thirties and fourties, or to science-fiction comics, which use mannerist style for cityscapes or even to curious Ferrara renaissance. Motives from nature are also frequent. Rubins' scenes are exact sceneries, being lost in space within the renaissance horizon. Rubins is the director of his own imagination, when uniting different worlds in one harmonious world, where existing and ready-made elements do not present a hindrance, on the contrary, he uses them in a fantastic story of his own making. His worlds are always tender and sweetish, with aesthetic corrections of the frightful, thus never really dreadful, but rather a magical sinking into dreams. Leonard Rubins freely changes mediums or combines classical approach of manual painting with a brush, with photography and collage and supplements them with programmed computer possibilities. Photography can as well be used in the new medium, collaged - assembled and intervened by means of painted effects or additions. The brush, the mouse or the electronic pencil represent manual intermedium, not of the central importance. The author's aim is to use whatever medium, from photographic collage, acrylic, computer graphics or a combination of any of these techniques - where a medium remains a medium - it is merely the means to achieve the desired effect, which means, that the medium is not used for its own sake. Mediums are only means for the presentation, visualisation of rich inner experience for Rubins, or simply a new possibility.
The Computer Mouse Age
March 2009	Barbara Boltar
Digital technology, which has become inevitable in all spheres of human life, intensive intervention in the Fine Arts. Creators is increasingly exploited as a medium in itself or as a tool for the creation of artistic objects, which can still be termed stradicionalnimi expressions paintings, drawings, graphics and add Prefix computer. When creator thoroughly familiar with technology, is prone to experimentation, may be detected plejado manipulations and brezštevilne combinations, leading to a wide variety of expressive forms. Sometimes art works clearly reveal features which allows only digital media, its language and aesthetics, and sometimes are followed so subtle, that is without access to the procedure defined as a computer problem. The digital platform enables a wide use of manufacturing art works. Ustvarjalcu allows the original work of adding an unlimited number of identical, copies of the same quality, or that it multiplicira and mechanically reproduced terv different manifestations across the world. The exhibition in the gallery Šivec House in Rodovljica, Leonard Rubins presents computer graphics, or components in the form of digital prints in limited and numbered series signirani large sizes and with original drawings, executed in the technique of watercolors and airbrush. This work is manifested as a unique blend of art techniques and media, and the artist's personal world. Author stems from a concept of art, which brings together the technological aspect and the expressive, creative-imaginative and the analytical-experimental approach. Pictures, as illustrations are from devedesetih years, ie from a period when the author in his artistic designing computer still does not represent a fundamental tool, the fruit of a long, lonely and patient work. Enthusiasm for the process is condensed into permanent images, which are saturated with the fine arts and narrative elements. They open us to the artist entirely personal, deep meditativnim perception of the world. When manual traditional painting approach is replaced by a computer and develop new techniques and procedures, which include 3D graphics, collage, installation, photography, having regard to the product - uutopic and surrealistic image felt that in his artistic conception fancy borders to reach the world. The density and intensity of the story scenes is like living, growing tissue, which is dictated by the internal experience launched fantasy. Cosmic and terrestrial landscapes, little figural scenes, portraits, own image, fantastic animals and plants, symbols of popular icons ... are either in the turbulent circles, the energy centers or, conversely, expand and grow outward. Allegoric, intimate story, they appear to the many levels of composition in which the mixing of rational and Irrational, past and present, elements of myth, fairy tales, history, fiction. Leonard Rubins meditations in their records and the creation of art, among other things, says: " ... ever considering and, to detect recurrent realization: collaging from other councils, devolved his model - fancy Scenography. The possibility of unforeseen incidents, although not endless. The only guide is the Self, which, in the process of creative work consumes peace and plenty ... Recreate it, means to conquer new software vocabulary and recommendations of coders. When shooting, scanning, render and accurate at the game, he is not improvise. It shows, however, the illusion in the form of personal interpretation of the digital versions of the world. This illusion has the speed of light, with constant approaching. In fotonic union between the creators and observers, image has - thank to Creator - a myriad of faces. In this fusion Rubins is collaging lost particles in to new whole. "