Painter’s credo

The space and time in which Leonard Rubins began to create his own narratives in pictures reaches far back in time, living only as a blurred memory. Period of incomprehensible fears, brave ideas, ungrounded idealism and blocked society that lives on Totalitarianism…

Tractate on the Ordinary Man – Part II.

He spent his childhood in an Utopian system of the Slavic nations, that after decades of totalitarian regime did not survive the spirit of time. Latently protected from the possibility of evolutionary process, which results in the personal development of altruistic values, he solely hermetically lived each day, as it offered itself.

Soon he discovered his first great salvation. Strong love for the world beyond the borders, of the known and safe. The source of imagination was coming from a new world in the West. Living directly on the border between two different ideologies, he had recognized in his creative enthusiasm the strengths and weaknesses of his regime. His regime was… red, but the West was … a rainbow. The vague life at the border of the new world, was a continuous risk and tension. The ideology of the regime, during Rubins’ vital youth, has permanently marked his character to a large extent.

He has suffered - as a featured individualist in collective mass hysteria values. He was Incomprehensible – as an Utopian, who was nurturing thoughts about new horizons and a global-free world. He was Melancholic – with the idea of otherness marked on his forehead, later almost in masochistic pose, bowing down to the mighty master, whose creation we all adored, while at the same time, as ordinary people, nurtured a covert cynicism to all that was different. That time can also take great credit for the development of collective laziness. Seeking great consolation and waiting for better times, a lot of pretending and imaginary creations were present during Tito’s period – unfortunately, also the masters were pretending that Rubins was well paid and rewarded.
Passivity of the society, had left deep marks also on the creations of Rubins who was still called Darko Senekovič at that time.

Through his pictures in mixed technique, he was gradually constructing his plan of salvation. As an unprofessional and amateur artist, who was working in a fabric to earn his daily bread, he was able to build his stories in pictures without a burden and sincerely – although lonely. He lived in the “Go West” syndrome and for twenty years, he has been experiencing the triviality of his time directly and forcefully. In the relationship between love – hatred and desire – envy, he was experiencing the freedom and dynamism of what was different and the stiffness of his regime.
The ambitions and dominance of the Slavic regimes eventually began to collapse and fall to pieces. Through the chaos of values and nonsense of everything that had been done and believed into until then, the ideologies and their creators once again amended to bitter memories.

Then – only ideologically renewed – the masses took refuge to the nearest land, whose tempting offer was illusory in the prosaic content of the new security – and found their shelter among them, who they had despised in the past so conceitedly.
There was nothing left for Rubins, but Utopianism to which, he had been entirety faithful – in his artworks until today.

∞ ∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞ ∞

Prostor in čas v katerem Rubins prične ustvarjati pripovedi v slikah sega daleč v čas, ki obstaja le še kot meglen spomin. Obdoblje nerazumljenih strahov, pogumnih zamisli, neprizemljenega idealizma in hermetizma družbe, ki živi od totalitarizma…

Razprava o sleherniku – II.del.
Otroštvo preživi v utopičnem sistemu Slovanskih narodov, ki po desetletjih totalitarne vladavine ni prenesel duha časa. Kot latentno varovan pred možnostjo evolutivnega procesa, ki rezultira v osebnem razvoju altruističnih vrednot, le hermetično živi vsak dan, kot se ta sam po sebi ponuja.
Kmalu odkrije svojo prvo veliko odrešitev. Ljubezen do širnega sveta, onkraj, njemu tako znanega in varnega. Domišlijski vir je prihajal iz nekega novega sveta na zahodu. Živeč neposredno na meji dveh ideologij, je v ustvarjalnem entuziazmu spoznaval prednosti in slabosti svojega režima. Njegov režim je bil…rdeč, zahod pa…mavričen. Zasanjano bivanje na meji novega sveta je bilo neprestano tveganje in vpreganje. Ideologija režima v času vitalne mladosti, Rubinsu v veliki meri, trajno zaznamuje značaj.

Trpel je – kot izrazit individualist v kolektivnivnem eno-umju vrednot. Nerazumevan je bil – kot utopist, ki je gojil misli o novih časih in družbi globalnega brezmejnega sveta. Bil je Melanholičen – z idejo drugačnosti vklesano na čelu, pozneje že skoraj v mazohistični drži, klanjajoč se mogočnemu gospodarju, katerega kreacijo so vsi oboževali, istočasno pa kot mali ljudje – sleherniki, gojili prikrit cinizem do vsega drugačnega. Temu času gre tudi velika zasluga po razvoju kolektivne lenobe.
V silni tolažbi in čakanju boljših časov, se je v tistem obdobju mnogo pretvarjalo in namišljeno ustvarjalo – a žal, so tudi gospodarji, Rubinsa namišljeno dobro nagrajevali.
Pasivnost družbe je pustila pečat tudi na – takrat še Darkotu Senekoviču – Rubinsovo ustvarjanje. Skozi slike v mešani tehniki je prikazoval načrt odrešitve. Kot neprofesionalen in ljubiteljski umetnik, ki si služil kruh v neposredni proizvodnji, je lahko neobremenjeno in iskreno – čeprev samotno – gradil svoje zgodbe v slikah. Živel je v “Go West” sindromu. Dvajset let je doživljal trivialnost svojega časa neposredno in silovito. V relaciji, ljubezni – sovraštva in želje – zavisti. Doživljal je svobodo in dinamiko drugačnega in okorelost njegovega sveta.
Ambicije po prevladi Slovanskih režimov, so se sčasoma pričele rušiti. Nestvarne iluzije so se razblinjale. Skozi kaos vrednot in dvomov okoli vsega, kar se je do takrat počelo in verjelo, se ideologije in njihovi snovalci znova spreminjajo v trpke spomine.
Nato pa – le ideološko prenovljeni – množično zatekajoč se k najbližjim obalam, ki vabljivo ponujajo iluzorne, prozaične vsebine nove varnosti – najdejo svoje zatočišče pri njih, ki so jih v preteklosti tako vzvišeno prezirali.
A Rubinsu je ostal le Utopizem in temu je, v svojih delih, zvest še danes.