Selected works of art for the new Vrazov Trg Campus of the UL Faculty of Medicine

Uršula Berlot Pompe

Traktografska impresija (Tractographic Impression)

The tapestry depicts an MR tractography image visualising the pathways of nerve fibres, or neural tracts. In the context of neuroscience, tractography is used not only for diagnostic purposes but also for research into language, movement, cognition and perception, while in the artistic context it functions as visual, conceptual and rhetorical material. It symbolises connectedness, flow, networks and relationships – the brain not as an isolated organ, but as a dynamic system of relations. From this perspective, tractography transcends its purely scientific function and becomes an artistic medium for reflecting on interconnectedness, invisible structures, and the relationship between the biological, experiential and social dimensions.

Ištvan Išt Huzjan

Eno jabolko na dan drži zdravnika vstran (An Apple a Day Keeps the Doctor Away)

The text is presented as a neon installation in the dining hall of the Vrazov Trg Campus of the UL Faculty of Medicine, where it establishes a dialogue with the space. The locally established phrase derives from the 19th-century English proverb (“Eat an apple on going to bed, and you'll keep the doctor from earning his bread”) and highlights the importance of prevention and nutrition, while also slightly provocatively questioning the role of the doctor in contemporary medicine. The work recalls neon bar signs while simultaneously connecting with the tradition of conceptual art of the second half of the 20th century.

Maša Gala Klančar, Klemen Brun, Marco Antonio Ortiz Delgado /Murdo Ortiz/

Impulz (Impulse)

The artwork Impulse is based on the idea of the university environment as a living organism in which knowledge, people and ideas are constantly flowing. The central visual element – a bold, dynamic black line – functions as a visual impulse, a neural signal connecting diverse fragments of colour and symbols into a unified whole. This line symbolises the flow of information, communication between disciplines, and the invisible connections that emerge in the academic environment among individuals, spaces and thought processes.

The layering of coloured surfaces, drawing elements and abstract symbols reflects the contemporary student experience: confronting a multitude of data, images and stimuli from which knowledge gradually takes shape. The work consciously employs the visual language of urban art, which is familiar, understandable and authentic to younger generations. In doing so, it moves beyond the traditional representational role of public art and establishes itself as an open platform for interpretation, dialogue and identification.

Damijan Kracina

Hrbtenica (Spine)

The work is not an anatomically accurate enlargement of the human spine, but rather the artist’s own interpretation of it. The greatly enlarged vertebrae are arranged vertically and gradually transition at the top into an expanded form that may evoke stone wings inspired by the famous ancient sculpture Winged Victory of Samothrace from the Louvre museum. A subtle twist can be perceived in the sculpture’s vertical composition, giving the monolithic column a sense of dynamism and movement. The rotated form engages the viewer and encourages them to walk around the sculpture and observe it from different perspectives. 

The column – the spine – carries several layers of meaning: within the space, it connects the floor and the ceiling while symbolically uniting the architectural and conceptual elements of the university. The spine is the axis of the body, while the sculpture represents the axis around which university life unfolds. The sequence of vertebrae illustrates the educational process, in which students gradually ascend the educational vertical, accumulating, building upon and integrating knowledge into a coherent whole. Likewise, through successive generations of students, the educational system creates continuity within the professional tradition.

The sculpture thus combines anatomy, science and humanism, functioning within the space as the orientational axis of the campus – a symbol of stability, protection and human uprightness.

Ištvan Išt Huzjan

Kaplja (Drop)

The form of the simple, monumentalised drop evokes a falling drop of blood. On the primary level, it functions as a spatial marker for the entrance to the campus; through its verticality and rounded silhouette, it establishes a dialogue with the surrounding architecture, including the Baroque onion-domed bell tower within its visual sphere. Through the softness of its form and surface treatment, the sculpture invites viewers to approach and touch it. On a symbolic level, it signifies a point of arrival – “here” is the entrance – while simultaneously monumentalising the programme of the campus. 

Maša Gala Klančar

On The Grid – Med redom in gibanjem (On The Grid – Between Order and Movement)

The artwork On The Grid – Between Order and Movement explores the tension between a structured system and organic human experience. The composition is based on a combination of red, pink and skin tones intertwined with a silver grid structure and black lines. The colour palette evokes the body, emotion and presence, while the grid functions as a rational framework within which movement takes place.

The silver grid represents order and the architectural and systemic organisation of space, while the black lines emphasise rhythm, direction and tension. Softer layers of colour act as a counterpoint – traces of human existence within an organised environment. The work visualises the balance between stability and change, between planning and spontaneity, which characterises everyday student and academic life.

The work is contemporary, restrained in expression and spatially sensitive. It does not offer a single, fixed message, but instead allows for multilayered interpretation and personal reflection. Within the space, it has a calming yet dynamic presence and contributes to the quality of the environment in which knowledge, movement and everyday life constantly intersect. On The Grid – Between Order and Movement functions as a subtle yet powerful visual element complementing both the architecture and the spatial experience.

Marjetica Sadar Breznik

Vihar (Storm)

The textile installation Storm interprets the entrance area of the Vrazov Trg Campus as a transitional space between movement and stillness, between everyday haste and inner concentration, between public protocol and personal experience. Here, the textile appears as a medium of time. The lengthy process of hand weaving, based on repetition, precision and concentration, transforms the work into a visible record of duration. Each segment bears traces of labour, decision-making and intuition, making the process itself an integral part of the final form. 

The installation creates a soft spatial flow that responds to both the architectural logic of the building and the movement of its users. As perspectives shift, so does the experience of the work. Through its presence, it contributes to the identity of the campus as a space of open reflection, sensory experience and interdisciplinarity, functioning as an organic part of the spatial whole. The work combines the rational structure of weaving with the intuitive selection of colours, forms and composition. This tension shapes a distinctive artistic language in which tradition is transformed into a contemporary expression.