»Matrice« narave
Fotograf Aaron Siskind je nekoč izjavil, da znotraj realizma ni več našel svoje govorice, ker z njim ni povedal ničesar in da je »začenjal čutiti, da je stvarnost nekaj, kar obstaja le v našem razumu in čustvih.«. Tako kot so Siskindove »kompozicije« kot odraz fotografovega abstraktnega idioma umeščene na geometrijska in očiščena polja, je tudi estetska izpoved fotografij Saše Kosa s svojo likovnostjo bliže slikarstvu. Izbor posnetkov detajlov, iztrganih betonski površini, ki se vpenja v njegovo že videno serijo fotografij, govori večidel z likovnim jezikom in se tesno naslanja na grafično umetnost, črpa in zajema iz njene čiste izraznosti in globin njene izpovednosti. V času, ki vedno znova zahteva novo, se namreč take vrste fotografska govorica umika v abstraktno, abstrahirano, minimalistično in na polje likovnosti.
In ker fotografija nikakor ne more biti »abstraktna«, saj ima kot odtis stvarnega vedno svoje realno ozadje, se lahko »nepredmetnemu« približa prav z njegovim izčiščenjem.
Ko se je avtor distanciral od ustaljene rabe fotografije ter se usmeril v raziskovanje znotraj polja estetike in likovne teorije, je ta postala le instrument, posrednik in izvrševalec že domišljene ideje, konstrukcije predstave. Saša Kos namreč ustvarjalnemu procesu dopušča zorenje, samim podobam pa izčiščenje skozi miselni tok in tako njihovo manifestiranje sklene takrat, ko so te zgodbo izpovedale v celoti njih stvarjalcu.
»Življenjski krog« betona se odvija skozi tri tankočutno prepletajoče se segmente, kjer je proces spreminjanja - v sicer neoprijemljivem času - naznačen zlasti s posegi človeka. Vzorci, ki se ob naravnih premenah zarišejo roki časa, zmorejo biti namreč tako dovršeni, da jih nepozorno oko ne zabeleži. Avtor je z magičnostjo, ki jo je zaznal v običajnem in vsakdanjem, detajl osamil in mu tako nadel plašč posebnega in izjemnega. Te nove »abstraktne« podobe običajno prezrtih stvari so skozi ponovitve in variacije prerasle v nekakšne »matrice«, predvsem zato, ker je objekt na fotografijah izžariščen iz predmetnega, izvzet iz stvarnega v trenutku, ko je ranljivo očiščen celote, ki ji pripada. Predmet, čeprav prepoznaven v stvarnosti, je le podlaga abstrahiranju in videno s tem ostaja namenoma to, kar v svoji osnovi je - le pogled je zožen na podrobnost in izsek v resničnosti sveta vsakdanjega in spregledanega.
Občutje, da motiv nekako biva vzporedno vsakdanjemu svetu, je fotografijam dodano tudi s fizično oddaljenostjo, s katere so bili detajli ogledovani in ujeti v objektiv (človeškemu očesu so približani brez potvarjanja perspektive), predvsem pa z rabo črnobele fotografije, ki ostaja vseh fotografskih manipulacij izključujoč moment. Element nadstvarnega, ki jih preveva, je v avtorjeve fotografije vstopil takrat, ko sta se linija in krivulja umaknili pojmovanju teksture kot absolutne celote, kot celostne površine.
In vendar te matrice, ti vzorci zmorejo bivati sami zase, so samozadostne in neodvisne podobe, ki ne silijo gledalčevega pogleda k določenemu »prebiranju«, temveč ga pustijo na prvi pogled hladnega in odmaknjenega. A le ob prvem srečanju – skozi »dialog uvidenja« ta preraste v stik in počasi se fotografija zaleze pod kožo in že videno izraste v na novo občuteno.
Groba materialnost betona je na fotografijah Saše Kosa skozi oplemeniteno bivanje in pojavnost detajla prefinjeno zastrta. Z rahločutnim posluhom za teksturo, za taktilno, pa je fotografija pripeljana in povrnjena do svojih izhodišč ter hkrati nadgrajena z osebnim do stopnje, odkoder se »zaznano« in »upodobljeno« dopolnjujeta v harmonijo sobivanja.
Tanja Cigoj


“Matrices” of Nature
The photographer Aaron Siskind once said that he was no longer able to find his language within realism, as with it, he did not say anything and that he “began to feel that reality is something which exists only in our minds and feelings.” In the same way as Siskind’s compositions as the expression of the photographer’s abstract idiom are placed on geometrical and cleared fields, the aesthetic declaration of the photographs by Saša Kos with their artistic note is closer to the art of painting. The selection of detail shots extracted from the concrete surface, which is bound to his previous series of photographs, speaks mostly an artistic language closely leaning on graphic arts, drawing and capturing from its pure expressiveness and the depths of its force of expression. At a time which consistently asks for something new, such photographic language is withdrawing to the abstract, the prescinding, the minimalistic and to the artistic field.
And as a photograph cannot be “abstract” since as an impression of reality it always has a real background, it can approach the “non-objective” precisely by its purification.
When the author distanced himself from the conventional use of photography turning towards research within the field of aesthetics and artistic theory, it became only an instrument, a mediator and an executor of an already thought-out idea, the construction of the notion. Saša Kos allows the creative process to mature and the images to be purified through the line of thought and so he concludes their manifestation only when they have told the full story to their creator.
The concrete’s “life cycle” happens through three sensitively intertwined segments, where the process of changes – in the otherwise intangible time – is indicated by human intervention. The patterns drawn by the hand of time upon natural changes can be so complete that the inattentive eye does not notice them. By using the magic, which he had sensed in the fully ordinary and common, the author isolated the detail thus cladding it in a cloak of special and exceptional. Through repetitions and variations, these new “abstract” images of commonly overlooked items have grown out to become a sort of “matrices”, especially as the object on the photographs has been focused out of the objective and excepted from the real at a moment, when it is vulnerably purified of the entirety to which it belongs. The object, even though recognisable in reality, is only a basis for the abstraction and the visible thus deliberately remaining what in its essence it already is – only the view is focused on the detail in the reality of the everyday and overlooked world.
The physical distance from which the details have been observed and caught on film (they are brought to the human eye without falsifying the perspective) and especially the use of black and white photography, which remains the excluding moment of all photographic manipulations, add to the sensation that the motive somehow exists parallel to the everyday world The element of the surreal pervading the author’s photographs entered, when the line and the curve made room for the comprehension of texture as an absolute whole, as a comprehensive surface.
However, these matrices, these patterns are able to live on their own, they are self-sufficient and independent images which do not force the observer’s gaze to a certain “selection” but at first glance leave him cold and distant. But only upon the first meeting – through a “dialogue of insight” contact grows and slowly the photograph gets under one’s skin and the already seen grows into the newly felt.
The rough materiality of concrete in the photographs by Saša Kos is subtly veiled through the ennobled existence and occurrence of the detail. With its sensitive flair for texture and the tactual, the photograph is brought to and back to its origins and at the same time upgraded with the personal to a level from where the “sensed” and the “illustrated” complement each other into a harmony of co-existence.
Tanja Cigoj

Biografija
Rojen sem v Slovenj Gradcu, imam 29 let, zadnjih 5 sem aktiven član Fotokluba Maribor in ustvarjam izključno v klasični črno beli tehniki. Najprej sem se ukvarjal predvsem s koncertno fotografijo in nočnimi posnetki ulic, danes pa so moje fotografije vse bolj abstraktne, minimalistične, podobne likovnim grafikam. Prav takšna je bila moja čisto prva serija fotografij, posnetki odrezkov filmov iz leta 2004, ki sem jo razstavljal v okviru natečaja Društva likovnih umetnikov Maribor, Vabljeni mladi. Po krajšem sprehodu skozi koncertne fotografije sem se vrnil k abstrakciji in to poletje za serijo fotografij betona prejel listino 'Primavera', ki jo podeljuje DLUM. Te fotografije so tudi del samostojne razstave Beton, ki jo oktobra razstavljam v Fotogaleriji Stolp.

Samostojne razstave:
oktober 2006: Galerija Satchmo Maribor
november 2006: Galerija Pasaža Radovljica

Skupinske razstave:
Vabljeni mladi 2004
9.izložba fotografija Niš 2005
Klubska razstava FK Maribor 2006
Vabljeni mladi 2008
Razstava članov FK Maribor, Zagreb 2008
Več informacij: www.sasakos.si