At the heart of the Nature & me cycle is the focus on perception. On nature, mostly. Walking through forests, watching trees, grasses, bushes, stones, plants, listening to and watching streams, their rapids, pools, rocks ... Diving under the sea, watching the waves, listening to the wind, climbing rocks, watching the plants …
What do these different impressions leave behind? Two things come to mind: rhythms of repetition in an endless variety of solutions and pulsating of vitality.

Vitality pulsates wherever there is life. In fact, the presence of intense pulsating of vitality is unavoidable. However, it is not necessarily also perceived. Detection requires sufficient openness and sufficiently sensitive perception. (To feel vitality is somewhat analogous to longing. They may even be related.)

"The Tree" in the 13th International Festivsl of Fine Arts Kranj.

Work "The Tree" (Transformation into basic bodies – what is lost, what is retained?) is the sculptural response to the question: "How will the principles of plant growth react to the transformation into something so measurement-friendly as cubes?".
To produce food trees need light (together with water, air and the right minerals). Compared with most plants, their advantage is their capability to spread the light-gathering leaves into a vast canopy. In this way, they wrestle more control over the access to sunbeams.
It is beneficial for them to find a trunk and branch structure which enables them to collect as much sunlight as possible with the optimal investment of wood. (Less wood per area of leaves stretched toward the sun allows for faster growth and light, yet the sturdy structure is more resilient toward gales and heavy snow, to name just two advantages.)
This optimization challenge they must solve while exposed to un-even and everchanging circumstances: Most sunlight comes from the southern hemisphere, the floor under the trees is often sloped, and in the vicinity, there are usually other trees cloaking part of the sky, which also grow, change and fall, heavy winds, frosts, snow and gales can permanently bend and break the branches or even the trunk etc. Therefore, a tree's growth must be open to constant adaptations and improvisation.
In short, A tree canopy is thus an answer to the engineering challenge of finding a structure with an optimal wood-to-leaves ratio in given yet everchanging circumstances.
How will this structure reveal itself transformed into the sculptural language of cubes, on the example of a particular, approximately 40-year-old walnut tree?
Does a quest for optimal structure improvised in an environment of constant change also produce a humorous angle? And will such transformation hide or reveal it?

From the solo exhibition Nature & me, a practice of sensitivity, with a sculptural contribution by Katja Oblak; paper cast of the rock. Srečišče Gallery, Hostel Celica, Ljubljana, December 2019 and January 2020:

Legs in the Water, Minus 13 Meters, Minus 15 Meters, Toward the island, With a Rock Behind the Back, 2019.

Island, 1990

Draga creek, 2015

Rock with green moss (Katja Oblak & Julij Borštnik).

Paper cast of the rock with moss by Katja Oblak, 2019.

videos By the Creek, 2019 and On a Bike, 2016.

Island Grass, 2016.

Forest Stream, 2015

Careful, regular observation of nature reveals the rhythms in the diversity of solutions: Patterns of repetition in a boundless variety of forms. An example is the geometric forms of organic growth: The responses of a wide variety of plant species to the challenge of optimal arrangement of leaf veins. We see the boundless diversity, but also the affinity between the solutions. Or the mechanics of running water, where boundless diversity usually fluctuates around a set of optimal solutions. The flows and eddies somehow "overlap". Each change affects all other flows and eddies, while the stream remains in the same bad. (Unless there is a flood. At that point rocks, rapids, even riverbeds move.)