A creative spark has been smoldering inside Leya Marinčič since her childhood and her first attempts have revealed her rich creative potential. In these days it has conquered and lured her into a world of sculpting. She has embarked on a creative journey in her own unique and completely experimental way. Her wors possess distinctive innovativeness. They emerge from teraton, glass fibers and other completely unconventional sculpting materials. The pigments of bronze and copper bring them, after a careful surface treatment, to visual effects typical for artefacts made from the same metals. With intensifying surface patina and lighting it strengthens the tridimensional clearness and picturesque of an individual animal figure. Her conceptual and art actors are dragons (»Ljubljančki«), horses and bulls.
Their images are a true treasure of variety, because they originally and variably change their structure and position and also reveal different conditions in nature. They are so character eloquent they almost seem as real portraits. The author is aware at her final creative act how important the installation of statues on pedestals is. They represent a foundation on which both form and content are fully meaningful.In the pedestal, which is made of granite, wood or inox, is the prediction of life of the sculpture and all its uniqueness, where also the pedestal and statue are connected into an inseparable wholeness. Leya’s works are based upon the depictions of animals, but are created in a relaxed, distinctively interesting and powerful way, deriving from daring solutions, which reveal authors wish for creating dynamical and fantasist lush forms. Even in one single artefact is present a wide interpretative range, which
leads the concept of figures from recognizable shapes put in the frame of classical figurative imagery, to them being abstractly lived out. From volumetric essence to almost flat edges. From carefully and partially stylized modulation to relaxed and open silhouettes. From smooth to structurally accent surfaces. In the works the inertness is only a momentary state, because the author irrepressibly aims at the
objectification of dynamics.
Art historian and art critic Anamarija Stibilj Šajn
JUŽNA KOREJA, Certifikat o razstavljeni skulpturi Ajda, Razstavljena skulptura Muzejski zbirki na Kangwonski Nacionalni Univerzi v Južni Koreji v letu 2018