Aprila 2015 sem prvič animirala obliko gobe. Iz peščice peresnih risb je nastalo nekaj minut počasne rasti — prvi sled fascinacije nad gobjimi telesi, ki še traja.

GOBICA je drobno, intimno delo: peresne risbe, počasna gibanja, čista podlaga. Iztočnica za vse, kar je sledilo.

In April 2015 I animated a mushroom form for the first time. From a handful of pen drawings emerged a few minutes of slow growth — the first trace of a fascination with fungal bodies that still continues.

GOBICA (‘little mushroom’) is a small, intimate piece: pen drawings, careful gestures, a clear page. The seed of everything that came after.

Cité Internationale des Arts, Pariz, december 2019. Camembert (Le Rustique, Petit Camembert) iz pariškega supermarketa. Improvizirani laboratorij s čimbolj konstantnimi pogoji: obročna svetilka, petrijevka z modrim agarjem, peresni in gvaš zapiski ob strani. Iz vzorca cheese-derived Penicillium kultur sem fotografirala sekvenco dni in tednov rasti.

Drobni, očesu neopazni premiki kamere so v sekvenci skakali. Zato je nastal manjši cevovod (Python + OpenCV): Cannyjeva detekcija robov je vsako fotografijo zravnala v binarno geometrijo, Houghova krožna transformacija (cv2.HoughCircles) je našla središče in polmer petrijevke, afina rotacija in premik pa sta vsak okvir poravnala v isto os. Posoda je obmirovala; plesen je ostala edini gibajoči se podatek.

Rezultat je stop-motion animacija Rast plesni — počasna, gosta, kuhinjska geologija.

Cité Internationale des Arts, Paris, December 2019. Camembert (Le Rustique, Petit Camembert) bought from a Paris supermarket. An improvised constant-environment lab: ring light, Petri dish with blue agar, gouache and pen sketches on the side. Across days and weeks I photographed the cheese-derived Penicillium cultures growing.

Tiny, eye-invisible shifts of the camera jarred the rhythm of growth in the sequence. So I wrote a small pipeline (Python + OpenCV): Canny edge detection reduced each frame to a binary geometry, the Hough circle transform (cv2.HoughCircles) located the dish’s center and radius, and an affine rotate + translate aligned every frame to the same axis. The dish held still; the mould was left as the only moving data.

The result is the stop-motion animation Mould Growth — slow, dense, kitchen geology.

Z Igorjem Tavčarjem sva spletno stran Find the artist (prvotni delovni naslov: Hang the artist) zasnovala kot igro vislice. Obiskovalec poskuša razlikovati Barbarine slike — predvsem iz cikla Fungivori — od slik, ki jih je ustvarila umetna inteligenca. Z vsako napačno črko se zmanjša količina sledi, ki jih lahko še razkrije.

Igra prenese teoretsko vprašanje (kaj ostaja v človeški ustvarjalnosti v dobi UI) v telesno doživetje tveganja.

With Igor Tavčar I designed the website Find the artist (working title: Hang the artist) as a Hangman game. The visitor tries to tell Barbara’s paintings — especially from the Fungivori cycle — apart from images generated by artificial intelligence. Every wrong letter strips away one of the remaining clues.

The game turns a theoretical question — what remains of human creativity in the age of AI — into a bodily experience of risk.