About me

Janez Štros was born in 1964. Janez Štros mainly creates abstracted works with technique oil on canvas. This means to hem free and unlimited space where he can show hes own perception of the world, creating new, exciting world of infinite multiplictiy of messages. Janez Štros paints the stories of inside experiences. His works of art begin in combination of methodical choice of the colour palette and the tale of coincidence. This is an approach which was introducedby Breton manifestand and the theory of subconscious.
Paintings of Janez Štros are made in the technique of oil on canvas. They are created from the inner urge, the desire to profess, to disclose his moods and feelings, personal spiritual states, thoughts and insights. Contents, in which the flow of subliminal is trapped, have an effect on the level of abstract, although illusory forms emerge in them that allude to the subject of reality. The author opens up the door to the most intimate corners of the soul with colors. They are his allies, confidants, partners in discussion, and conveyers of harmonious states, suggestions and symbolic messages. Although a colouristic hedonist, he never uses the entire spectrum, but for each painting chooses its own color concept. He enriches it with endless overflows, shine, stream, synthesising and spreading of color. Layers of color are applied in multi-layer overlap. This results in a unique painting, characterized by a special softness of alloy of colors and countless diverse traces combined in the composition of free, open, dynamic scenes in vivid, pulsating images. With each creation Janez Štros discloses a part of his truth, the art visualization of which consequently represents an experience of personal catharsis.   


Janez Štros entered the world of painting in 2002. This is where the extremely sensuous artist found an opportunity to reflect his sentience, adventures, and reminiscence. Contentless and indefinable scenes came into being spontaneously and irrepressibly, bringing primeval relief, and unveiling his impetus, his innermost subconscious frame of mind. By doing so, Štros began to actualize the approach reinforced by Breton’s manifesto and the theory of subconsciousness.

The hand follows the painter’s inner vocation, and the artist feels as if he were its medium, its herald being called to reveal it in a visually explicit and distinctively individualistic way, introducing its profoundly intimate nature.

His paintings can be characterized as expressive colourful abstractions. Contentwise, they are intangible, autonomous fine art specimens which expose and contemplate the painter’s inner world like an open book. They originate freely and tempt the beholder into their own liberated experiences. From the paintings, however, arise mirage-like segments that seem almost within reach.

The art work is composed of multiple layers, a dynamic interaction of the painter’s conscious marks and spontaneous reaction to the contours in colour and unfolding “the story” therein. Diverse in character, invariably uncensored, primordial, eruptive strokes bring colourful grandeur starting in near monochromatism and ascending irrepressibly toward a spectrum of rainbow colours. The painter pursues his personal frames of mind and intimate states of soul and spirit by using the entire palette. As Wassily Kandinsky would have said, colour, like music finds the most straightforward avenue to the soul.

The paint coatings string side by side overlaying and communicating reciprocally, synthesizing and vanishing. This is how unique and softly remarkable alloys of colours and endlessly diverse traces originate. Abundant coatings of oil paint conjure up thickness and gently awaken texture of a painting joined by entirely transparent interspace. The state on the surface depends on the occurrences underneath as well as on the stretching of the colour membranes at lower levels. They partly but decisively break through onto the exterior, or alternatively subtly radiate all the way through it, playing a vital part in marking its colouristic occurrences and bringing up a dimension of illusionistic deepness.

The painting epidermis is getting a more and more interesting and telling art moment. Thickenings shape an outstanding superficial motion, which has an organic design.

Although the structure becomes a stronger artistic segment, it does not veil motley art happenings existing under materialised concreteness.

The paintings represent free, open, and dynamic composition percepts not confined by the rim of a canvas. Namely, they cross its frames and silently fill up the wider space. These are specimens, overwhelming with great variety of graphic events. They are living, pulsating artworks born from an inner urge, vibrating in a wider space.

At first sight, there is nothing figurative in the abundance of colours, lines, shapes, and structures. Along the observer’s open and punctilious communication with each painting, shapes of determinable design enter visual life. They are more visible to some than others, depending on the individual’s immersion into the tissue of the painting and his/her readiness to perceive their essence. Despite their impact on the mirage level they allude to the concrete reality. They are mostly articulated in figuratively designed shapes.

In Štros’s latest cycle these forms are angels. “Angels are spiritual beings or ghosts with etheric, airy body who may take on only the appearance of men,” said  Chevalier in the Dictionary of Symbols. As such, the painter’s angels have their own image. Despite their spiritual nature they have their bodies: childly, womanly, or manly forms – they appear and vanish as if they were now a body then only a spirit.

They are softly articulated, tender, and sensuous. They are beings of light and hope, touching us softly, caressing our sights, touching our hearts, and ceaselessly dwelling between visible and invisible. They come to tell their story and then disappear in order to return and whisper the painter’s thought: “You are an angel too.” Their barely perceptional appearance, often gentle as a breath, evokes invisible strength which they possess and then devote it to us all as a concern for a fellow human being.

They appear in emerging colours and reinterpret the painter’s moment, his inner atmosphere. Now bright, then dim, sunny and shadowy, materially concrete or transparent and soft. Their colouristic state is like a mirror of soul, it is the life itself.

The angel story is bound up in a cycle of 37 paintings. Each holds a piece of the painter’s most intimate confession. The scope is not coincidental but deliberately determined and meaningful. It does not belong to some general symbolism but to the artist’s world of personally selected symbolic meaning.

“Great works of art come either from great joy or great pain,” says an unknown author. This very truth interconnects the latest ouvres of Janez Štros. With these works of art, the painter ceased in his instant and through his language of art dedicated his emotions to the paintings.

With his own creative energy and his own temper, Janez Štros makes steps into the distinctiveness and reaches across borders of conventionalism and beyond established fine art culture. From the outside, his painting is distinctive and authorially unique, colourfully concrete and forceful whereas from the inside it is subtle, lyrical, and full of latent contents. It is the kind of art that binds his inner being with the outer world.

So whenever a sensitive eye strolls the surface of his paintings, it witnesses the deepness of art space charged with emotions.


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