How to look at Oblak’s sculptures
Oblak’s sculptures are not meant to be viewed only from the front. Walk around them. Notice how the form changes from different angles, where solid mass opens into empty space, and how light brings out the varied texture of the bronze surface.
Observe, too, how Oblak moves between recognisable and stylised forms. A flower, animal, or human body may be clearly identifiable in one work, while in another the motif is simplified almost to the point of abstraction. The surface itself is important. In the bronze, you can see traces of modelling, hollows, raised areas, and irregularities that cause the light to shift constantly across the sculpture.
With works inspired by nature, try first to identify the motif and then turn your attention to the form itself: volume, rhythm, openings, and the relationship between mass and void. In this way, you can follow how Oblak transformed the world around him into his own sculptural language.
The Queen in the garden
Year: 1968
Material: bronze
Dimensions: 116 × 180 × 110 cm
Location: garden of the Mrak Homestead
The Queen is conceived almost as an architectural figure. Her reclining, relaxed yet proud body is simplified into large, weighty masses, above which rises a small, crown-like head. Rather than depicting the human body realistically, Oblak builds the figure through mass, voids, and the richly textured bronze surface characteristic of his work.
Set in the garden, the figure enters into a dialogue with its surroundings, while its monumental presence also makes it a distinctive landmark in the space.
You are welcome to sit beside her, lean against the sculpture, and imitate her pose.
Beaked fountain
Year: 1972
Material: bronze
Dimensions: 22 × 16 × 35
Location: Room 1, featuring animals and sacred motifs
This fountain model demonstrates Oblak’s characteristic way of combining sculpture with practical function. The composition is built from simple geometric forms: an elongated base, a cylindrical basin, and a vertical spout that extends at the top into a distinctive pointed “beak.” The spherical form at the top and the elongated spout give the fountain an almost animal-like appearance, as though the simple structure had transformed into an unusual bird.
The work clearly illustrates how Slavko Oblak also drew on the reduction and transformation of natural forms in his fountain designs. Strict geometry and playful association complement one another: the object remains a fountain, yet it can also be viewed as a small sculpture in its own right.
As you look at the work, consider: What do you see first: a fountain, a bird, or an abstract sculpture? Listen to the water and notice how the bronze surface changes in the light and where it comes into contact with the water.
Family
Year: 1996
Material: bronze
Dimensions: 70 × 62 × 20
Location: central gallery space
In Family, the human figures merge into a compact, unified form. Individual faces and bodies are suggested rather than rendered realistically. What matters more is their closeness, physical contact, and shared outline.
The sculpture can therefore be read as an image of connection, intimacy, and security. At the same time, Oblak uses hollows, openings, and a roughly modelled surface to create a striking interplay of light and shadow.
