Selected works of art for the new UL Veterinary Faculty building

Aleksij Kobal

Veduta

The painting Veduta presents a panoramic segment of trees in a dormant state. In late autumn, everything once lush within the treetops falls to the ground, which is no longer green but coloured in numerous shades of ochre, yellow and brown. The scene appears still, frozen within a specific slice of time. The image of a curious deer is barely noticeable, as our digitally recreated world shines through the cracks of the colour impressions. Sky and ground are elements of the same computer-generated fabric, which seems to entirely replace the original role of reality. In places, the wrinkled grid is composed of cubes with three visible surfaces reflecting circles in red, blue and green. The RGB reference creates the impression of a screen image which, through soft folds and varying perspectives, produces a hypnotic effect. It functions as a “screen of reality”, where images from the real world are complemented by symbolic meanings.

Veterinary work may also be understood as a symbolic act – a return to nature and its vulnerable inhabitants of everything that has been taken from them in the name of human development. Our fundamental awareness calls for the restoration of coexistence, and the painting therefore does not seek to evaluate or judge any reality, since without the coexistence of nature and science, life today would no longer be possible. Just as modern medical equipment helps vulnerable animals survive, the painting likewise attempts, on the level of content, to depict this coexistence through the combination of the computer mouse and the natural strokes of the paintbrush.

Eva Gorišek

Diptych V okvirjih (Within the Frames)

The painting, created in the form of a diptych, consists of a grid of circles through which layers of colour and traces of spontaneous creative gestures are visible on the canvas. On a symbolic level, the diptych represents a visual dialogue between order and spontaneity, between scientific precision and the living, unpredictable organism. The duality of the work is its central concept and meaningfully connects with the entrance hall of the UL Veterinary Faculty. 

The composition is structured around a grid of circles, which may be understood as a system, structure or method – the foundation of all scientific research. The circle itself, as a universal form, symbolises the cell, the organism and the cycle of life.

The colour scheme of the diptych further emphasises this conceptual duality. The first painting is based on shades of white and establishes a sense of light and purity – like a laboratory or the beginning of research. The second painting, marked by grey-violet tones, introduces depth and evokes the interior of an organism, tissues and processes taking place beneath the surface.

In contrast to the grid, layers of colour and swift, energetic brushstrokes emerge through the circles. These result from spontaneity and playfulness and symbolise the vitality of the organism – its unpredictability, complexity and constant transformation. Veterinary science as a field of research operates precisely at the intersection between scientific order and the living, often uncontrollable organism. This tension between the known and the still unexplored is also central to understanding the contemporary challenges faced by veterinary science, from emerging diseases and epidemiological questions to the ethics of animal care and sustainable coexistence.

Boštjan Drinovec, Mina Gutović, Špela Kuhar, Robert Potokar

Hippopotamus domesticus

The starting point for the sculpture, positioned in the entrance hall of the new UL Veterinary Faculty, is the image of a hippopotamus soaking in a bathtub – a space otherwise intended for humans. This deliberate placement of the animal within a human context raises questions of coexistence, care and the responsibility that humans, and veterinarians in particular, have towards other living beings.

In sub-Saharan Africa, the hippopotamus symbolises physical strength, courage and authority. To students, it conveys the message that working with animals requires respect, understanding and responsibility. The hippopotamus is an animal that spends much of its day in water, which enables it to regulate its body temperature, protect its skin and experience a sense of safety. The bathtub, as a symbol of an intimate, protected and nurturing space, becomes a shared point between humans and animals. The sculpture blurs the boundary between species and emphasises the universal need for comfort and care. It functions as a metaphor for the mission of veterinary science – caring for animals, understanding their needs and seeking balance between the human and animal worlds. The humorous scene of a hippopotamus in a bathtub initially attracts the visitor, then invites reflection on the relationship between humans and animals, strength, vulnerability and interdependence, while also inviting visitors to touch the sculpture, perhaps even for good luck in their next exam. 

Vladimir Leben

Brain Drain

The polyptych reflects contemporary scientific research into cognitive processes in primates (and other animal species) and, through a paraphrase of The Thinker, softens the boundary between the human and animal worlds. In addition to critiquing the anthropocentric worldview, it also addresses the “brain drain” phenomenon, whereby highly educated people in Slovenia see no opportunities for career development within the country itself. 

The polyptych consists of four parts executed in the classical portrait style, with the subject emerging from darkness. In visual terms, the figure suggests contemplation and reflection. The classical oil-on-canvas technique emphasises continuity, transmission and the development of thought and knowledge across generations, as well as the importance of contextualising the present moment within a broader temporal framework. The absence of frames is intentional. A frame limits a painting, whereas the purpose of the work is to encourage identification and strengthen empathy. 

Tanja Pak

Kaplje (Drops)

Two vertical compositions of steel structures with suspended glass droplets create the impression of looking upwards from beneath the water’s surface towards the light. The droplet, as a symbol of flow, cyclicality and the interdependence of living systems, suggests the idea of balance between humans, animals and the environment. Light, perspective and the dynamics of the installation create a subtle yet striking spatial experience in which the volume of the architecture encounters the apparent fluidity of glass, emphasising the artist’s distinctive poetic expression. 

The work originally expands the traditional medium of glass through a contemporary design approach that goes beyond the material dimension alone and opens a broader conceptual context. It consists of steel structures shaped like undulating water surfaces, suspended on structurally secured steel cables, and uniquely crafted frosted glass droplets with an integrated mounting system. Each droplet is hand-blown with the use of breath and gravity alone, without the use of moulds, resulting in unrepeatable forms and subtle micro-diversity. This inherent variability is not merely an aesthetic effect, but also carries a clear conceptual parallel with the diversity of the living world. The hand-blown glass and the manually finished surfaces of the laser-shaped metal emphasise the growing importance of human presence and touch in an age of digitalisation and automation. 

On a thematic level, the work engages in a relevant and critical manner with issues of sustainability, the fragility of life and the interdependence of ecosystems in the context of contemporary environmental challenges. The vertical articulation conceptually complements the greenery in the entrance hall with the idea that without water there is no life. The intervention takes into account the spatial axes, communication routes and visual connections between floors. The semi-transparency of the material enables a dynamic interplay of natural and artificial light without interfering with the functionality of the space.  

Damijan Kracina

Specimen

The sculpture Specimen presents a new, unknown form of living being. The unusual creature coils around a metal support; it has a clearly indicated spine and a soft, organic body with tentacle-like protrusions in its upper section. The sculpture may be interpreted in several ways. It can be understood as a specimen that is the subject of scientific study and which, in an environment such as this, will be classified and incorporated into the system of animal species as a newly discovered life form. It may also be seen as a creature peacefully hanging and resting on the geometric structure in the entrance hall of the UL Veterinary Faculty, unconcerned with the students observing it. 

We are confronted with something unknown and unusual. The work functions as a living being that subtly provokes the viewer or passer-by – above all by raising awareness that the animal world and nature in general are extraordinary and surprising, yet at the same time fragile and vulnerable. Due to its size, which slightly exceeds human scale, the sculpture has a monumental presence and establishes a direct relationship with the individual. When confronted with it, it is difficult to remain indifferent; it is not merely an aesthetic object in space, but a complete experience. 

In its conception, Specimen is a classical spatial sculpture that encourages viewers to observe it from different angles. The forms intertwine spatially and are designed to guide the observer around the work and towards its other side. The surface is smooth and taut, with an organic, almost soft effect. In this way, the sculpture establishes a striking contrast with the geometric design of the architecture and the architectural elements of the space.