\u00a0<\/strong><\/p>\n \u010crno-bela fotografija \u017ee od nekdaj nosi pridih nostalgije in prikli\u010de duh preteklih \u010dasov. V delih Nives Papandopulo kontrast \u010drnega in belega ne deluje zgolj kot estetski element, temve\u010d postane sredstvo pripovedovanja, ki gledalca vodi v svet med domi\u0161ljijo in resni\u010dnostjo. Igra svetlobe in sence oblikuje prizore, podobne filmskim in\/ali pravlji\u010dnim kadrom, v katerih sence prevzamejo glavno vlogo.<\/p>\n Vsebina fotografij se ne iz\u010drpa v tem, kar je vidno na prvi pogled; ob dalj\u0161em opazovanju zaznamo ve\u010dplastne vizualne vzorce in skrite pomene. Njena dela nam ponujajo mo\u017enost igre prepoznavanja skrivnih znakov v oblakih, sencah in krajinah. Tako na primer v delu V galopu<\/em> temna silhueta grmi\u010devja zari\u0161e lik konja, medtem ko na fotografiji \u0160panjulet iz oblakov dima vznikne podoba \u017eenske. To iskanje in prepoznavanje oblik odpira ve\u010dplastno komunikacijo z avtorico ter nas prena\u0161a v otro\u0161ko sanjavo domi\u0161ljijo in igrivost. Vesela lahkotnost iz\u017eareva iz slike Variacije<\/em>, kjer skok v vodo postane skok v svet imaginacije. Eden od ponavljajo\u010dih se motivov v njenih delih je lik skrivnostnega mo\u0161kega s klobukom, ki tava po pustih pokrajinah. Njegova enigmati\u010dna prisotnost evocira ob\u010dutek odtujenosti in nas povezuje z eksistencialisti\u010dnimi temami iz knji\u017eevnosti in filozofije. Te pokrajine s svojo prostranostjo in intenzivno svetlobo spominjajo na al\u017eirske prizore iz Camusove zbirke esejev Poletje<\/em> (1942), v kateri se iskanje smisla prepleta z mediteranskimi vizurami. Sre\u010dujemo se z melanholijo in osamljenostjo, z notranjim bojem iskanja smisla in lepote kljub zunanji surovosti. Ko se na\u0161i poskusi, da bi na\u0161li smisel v tradicionalnih vrednotah in verovanjih, izjalovijo, ob\u010dutimo odtujenost, ki nas \u017eene k iskanju. Nenehno iskanje smisla, pre\u017eeto z ob\u010dutkom lo\u010denosti od drugih ljudi in sveta, nas vodi do ob\u010dutka odtujenosti od lastne identitete. V mnogih kadrih je to \u010dustvo izrazito prisotno, \u0161e posebej v seriji osamljenih senc. Na sliki Vrata<\/em> se zgostijo trenutki lo\u010devanja; vrata, ki se ble\u0161\u010dijo v soncu na prazni pla\u017ei, v nas vzbudijo jesensko oto\u017enost. Poletna vznemirjenja so mimo in sprijazniti se moramo s prihodom jeseni, s staranjem. Portret njenega umirajo\u010dega o\u010deta, pesnika Kre\u0161imirja Stani\u0161i\u0107a, pusti globok vtis. Z liri\u010dno prefinjenostjo je ujet trenutek njegovega slovesa od tega sveta, ko z zaprtimi o\u010dmi, uprtimi proti nebu, vpija zadnje son\u010dne \u017earke. Kljub te\u017ei trenutka vlada ob\u010dutek umirjenosti, sakralna ti\u0161ina ve\u010dnosti in povezanosti z naravo. Ob tej podobi, ki odra\u017ea \u017ealost slovesa, samoto in soo\u010denje s smrtnostjo, ostanemo ganjeni.<\/p>\n Nives Papandopulo nas spominja na mo\u010d upo\u010dasnitve, na vrednost detajlov in ti\u0161ine. Pogled njene kamere je pogosto usmerjen v nebo, kar nas vna\u0161a v stanje lebdenja, kadri oblakov pa poudarjajo temo minljivosti in nedolo\u010denih prostorov. Njena dela so zamrznjeni dragoceni trenutki, iztrgani iz \u017eivahnega traku \u017eivljenja, svojevrstna meditacija o toku \u010dasa. Prevzeta od samega \u017eivljenja nas vabi, da se ustavimo, prepustimo sedanjosti in odkrijemo tisto, kar pogosto spregledamo \u2013 skrite oblike, neizre\u010dene zgodbe, subtilno lepoto in potencialni pomen, ki se skriva pod vsakim na videz povsem obi\u010dajnim prizorom.<\/p>\n <\/p>\n <\/p>\n <\/p>\n “Moonwalker”<\/em><\/p>\n <\/p>\n <\/p>\n <\/p>\n Black-and-white photography has always carried a note of nostalgia, evoking the spirit of bygone times. In the works of Nives Papandopulo, the contrast between black and white functions not merely as an aesthetic element, but as a narrative device that guides the viewer into a world suspended between imagination and reality. The interplay of light and shadow shapes scenes reminiscent of cinematic and\/or fairy-tale frames, in which shadows assume a leading role.<\/p>\n The content of these photographs is not exhausted by what is visible at first glance; rather, through prolonged observation, layered visual patterns and hidden meanings begin to emerge. Her works offer the viewer the playful opportunity to recognize secret signs in clouds, shadows, and landscapes. For example, in the work At a Gallop<\/em>, the dark silhouette of shrubbery outlines the figure of a horse, while in the photograph Cigarette<\/em>, the figure of a woman emerges from a cloud of smoke. This searching for and discovering of forms opens a multilayered communication with the artist, transporting us into a childlike realm of dreamy imagination and playfulness. Joyful exuberance bursts from the photograph Variations<\/em>, where a leap into the water becomes a leap into the world of imagination. One of the recurring motifs in her work is the figure of a mysterious man wearing a hat, wandering through desolate landscapes. His enigmatic presence evokes a sense of alienation and connects us to existentialist themes found in literature and philosophy. These landscapes, with their vastness and intense light, recall the Algerian scenes from Albert Camus\u2019s essay collection Summer<\/em> (1942), in which the search for meaning merges with Mediterranean vistas. We encounter melancholy and solitude, an inner struggle to find meaning and beauty despite external harshness. When our attempts to find meaning in traditional values and beliefs fail, we experience a sense of alienation that drives us to search further. This constant search for meaning, permeated by a feeling of separation from other people and from the world, ultimately leads to alienation from one\u2019s own identity. In many of the frames, this emotion is strongly present, particularly in the series of solitary shadows. In the photograph The Door<\/em>, moments of separation are condensed; the door reflecting sunlight on a deserted beach evokes an autumnal melancholy within us. The excitements of summer are over, and we must come to terms with the arrival of autumn\u2014with aging. The portrait of her dying father, the poet Kre\u0161imir Stani\u0161i\u0107, leaves a profound impression. With lyrical refinement, the moment of his farewell to this world is captured: eyes closed, turned toward the sky, absorbing the last rays of sunlight. Despite the gravity of the moment, a sense of calm prevails\u2014a sacred silence of eternity and a deep connection with nature. We are left deeply moved by this image, which reflects the sorrow of separation, solitude, and confrontation with mortality.<\/p>\n Nives Papandopulo reminds us of the power of slowing down, of the value of detail and silence. Her camera lens is often directed toward the sky, drawing us into a state of suspension, while images of clouds emphasize themes of transience and undefined spaces. Her works are frozen, precious moments torn from the rapid reel of life\u2014a kind of meditation on the passage of time. Absorbed by life itself, she invites us to pause, to surrender to the present moment, and to discover what we so often overlook: hidden forms, unspoken stories, subtle beauty, and the potential meaning that trembles beneath every seemingly ordinary scene.<\/p>\n <\/p>\n ” Gibanje “<\/em><\/p>\n <\/p>\n Rojena 1965 v Reki. Diplomirala je na Pedago\u0161ki fakulteti v Reki, Oddelek za kiparstvo, kjer je pridobila naziv profesorice likovne umetnosti.<\/p>\n Dolgoletna je sodelavka \u0160ole za uporabno umetnost v Reki. Izstopa kot pedago\u0161ka mentorica z bogatimi izku\u0161njami pri delu z nadarjenimi u\u010denci ter kot pobudnica in koordinatorka \u0161tevilnih \u0161olskih in kulturnih projektov. Njeno umetni\u0161ko in pedago\u0161ko delo se odra\u017ea v trajnem vplivu na izobra\u017eevanje in kulturno sceno, od leta 2016 pa se razvija tudi kot priznana fotografinja.<\/p>\n Sodelovala je na \u0161tevilnih razstavah, pri \u010demer je osvojila pomembne nagrade, med katerimi izstopajo: 1. nagrada na XVII. Istra Art <\/em>fotografskem nate\u010daju Isolation<\/em> (2021) ter 2. nagrada v kategoriji posamezne fotografije na 10. Salon \u010drno-bele fotografije 100+1<\/em> v Reki (2023).<\/p>\n Leta 2025 je samostojno razstavljala v galeriji Decumanus<\/em> na Krku ter v galeriji Pasa\u017e<\/em> v Reki.<\/p>\n Je \u010dlanica HDLU Istre in umetni\u0161kega sveta galerije Pasa\u017e <\/em>v Reki.<\/p>\n <\/p>\n <\/p>\n Born in 1965 in Rijeka. She graduated from the Faculty of Education in Rijeka, Department of Sculpture, where she obtained the title of Professor of Visual Arts.<\/p>\n She has been a long-time staff member at the School of Applied Arts in Rijeka. She stands out as an experienced pedagogue and mentor, working with gifted students, and as the initiator and coordinator of numerous school and cultural projects. Her artistic and pedagogical work has had a lasting impact on education and the cultural scene, and since 2016, she has also gained recognition as a photographer.<\/p>\n She has participated in numerous exhibitions, winning significant awards, including the 1st prize at the XVII. Istra Art <\/em>photography competition Isolation<\/em> (2021) and the 2nd prize in the individual photograph category at the 10th Black-and-White Photography Salon 100+1<\/em> in Rijeka (2023).<\/p>\n In 2025, she held solo exhibitions at the Decumanus Gallery<\/em> in Krk and the Pasa\u017e Gallery<\/em> in Rijeka.<\/p>\n She is a member of HDLU Istra and the artistic council of the Pasa\u017e Gallery<\/em> in Rijeka.<\/p>\n <\/p>\n Nives Papandopulo: V senci, iz sence\u2026 \/ \u00a0 \u010crno-bela fotografija \u017ee od nekdaj nosi pridih nostalgije in prikli\u010de duh preteklih \u010dasov. V delih Nives Papandopulo kontrast \u010drnega in belega ne deluje zgolj kot estetski element, temve\u010d postane sredstvo pripovedovanja, ki gledalca vodi v svet med domi\u0161ljijo in resni\u010dnostjo. Igra svetlobe in sence oblikuje prizore, […]<\/p>\n","protected":false},"author":1,"featured_media":2115,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[46],"tags":[73,75,71,69,63,65,67],"class_list":["post-2142","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-aktualne-razstave","tag-bw","tag-exhibition","tag-foto","tag-from-the-shadow","tag-nives","tag-papandopulo","tag-within-the-shadow"],"_links":{"self":[{"href":"https:\/\/www.fotoklub-maribor.si\/galerija\/wp-json\/wp\/v2\/posts\/2142"}],"collection":[{"href":"https:\/\/www.fotoklub-maribor.si\/galerija\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.fotoklub-maribor.si\/galerija\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.fotoklub-maribor.si\/galerija\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fotoklub-maribor.si\/galerija\/wp-json\/wp\/v2\/comments?post=2142"}],"version-history":[{"count":2,"href":"https:\/\/www.fotoklub-maribor.si\/galerija\/wp-json\/wp\/v2\/posts\/2142\/revisions"}],"predecessor-version":[{"id":2144,"href":"https:\/\/www.fotoklub-maribor.si\/galerija\/wp-json\/wp\/v2\/posts\/2142\/revisions\/2144"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fotoklub-maribor.si\/galerija\/wp-json\/wp\/v2\/media\/2115"}],"wp:attachment":[{"href":"https:\/\/www.fotoklub-maribor.si\/galerija\/wp-json\/wp\/v2\/media?parent=2142"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.fotoklub-maribor.si\/galerija\/wp-json\/wp\/v2\/categories?post=2142"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.fotoklub-maribor.si\/galerija\/wp-json\/wp\/v2\/tags?post=2142"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"\"](\"http:\/\/www.fotoklub-maribor.si\/galerija\/wp-content\/uploads\/sites\/3\/2026\/07\/Moonwalker-300x200.jpg\")
<\/p>\nNives Papandopulo: Within the Shadow, From the Shadow<\/strong><\/h2>\n
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<\/p>\nNives Papandopulo<\/strong><\/h2>\n
Nives Papandopulo<\/strong><\/h2>\n
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