Graphic Technique of Marjan Pogačnik

The film showcases a demonstration of the various stages of graphic technique of Marjan Pogačnik. His graphic work, presented at the new exhibition, is of exceptional quality, while the artist's graphic procedure is shrouded in mystery.

Only when we delve into the artist's understanding of graphic techniques, the logic of the process flow, the development of his artwork, and his creative ethics, can we fully grasp the significance and grandeur of his work.

Marjan Pogačnik (1920–2005) was a master of intaglio techniques. After graduation from the masterclass with Gabrijel Stupica, he laid down his brushes and turned to printmaking, mainly dry point. His critics immediately noticed a gifted draughtsman of intimate experience and lyrical expression.

Pogačnik's printmaking technique was absurdly extensive − time consuming, physically exhausting, burdened by a large number of discarded prints. Thus, his print-runs pulled from large plates never exceeded 35 samples.

He received several prestigious awards, such as gold medal at the Alexandria Biennale for Mediterranean Countries in 1963, and International Print Competition 77 in San Francisco in 1977, while one of his dry points appeared on the poster for the Venice Biennale already in 1954. In Slovenia, his prints fetched several purchase prizes at the International Biennial of Graphic Arts as well as the Prešeren Fund Award in 1962, and the highest national accolade, the Prešeren Lifetime Achievement Award, in 1986.