Norma De Saint Picman

between Painting, Sculpture, Photography, Architecture , Poetry, Music, Danse,

using AI in creation processes and NFT as exchangeable financial asset

ART
AND

INDUSTRY
 ART
as intimate means of personal expression,
public promotional tool
and
investment asset
I.
Ways of incorporating Arts as an
effective tool to build a recognizable
brand and develop promotion in a
corporate world - Industry & Arts
Published on December 21, 2018, Linkedin

Like in ancient times when the power of

Emperors was measured by the grandiosity of
their palaces and the size of kingdom
territory, the overall effect of impact was kind
of "Gesamtkunstwerk" of symphonized opera
including architecture, painting, design,
decorative Arts, music, ballet, orchestra
volume, the New Age bigger or smaller
corporate princes or barons recognize very
 well importance of canalizing their values
through recognizable visual or - and audible -
refined yet powerful utilization of Arts.

Rome, 2015, NDSP

Saint John’s Co-Cathedral, Malta, 2017, NDSP

As a starting point we can mention investment in Art collections which is actually also an ancient
principle but commonly used in several Banks, ( Lischtenstein based Bank of Royal Familly, based on
collections of of historical proven artists, Factor Banka in Slovenia, based on modern authors...)
Historical and estimated value of those works, gained and elevated also through auctions shows the
uniqueness and credibility - beside the actual monetary power - of those companies.
However, Art can be acquired through divers platforms like Artsy, Saatchi, Artsper etc. , especially in
post - Covid periode, however promotion and exchange has being largely utilized via big shows and
Galleries gatherings like Frieze in London, FIAC in Paris, The Armory Show New York, ART Maiami…
 Londres, Frieze Art Show, 2014, NDSP

Sponsorship and collecting present via certain banks, foundations, favourable for artists, enable
grandiose creations and recognition for both, artist and the client.
Contrary to commissioned works often depicting historic scenes or portraits in the past nowadays
artists are developing their own stories, like French-american artist, painter, sculptor and film maker
(1930-2002) Nikki de Saint Phalle, with feminine obsession of giant Nanas.

Nikki De Saint Phalle, The Scull, Tarot Garden, Exhibition Grand Palais, Paris, 2014, NDSP

Portugese artist Johanna Vasconcellos inspired also by Wagner, exposed enormous Valkyrrie in the
Bon Marche in Paris in 2019 and the first women having a personal show in Versailles castle.

Johanna Vasconcellos, Barco Luz, Installation in Bon Marche, Paris, 2019, NDSP
 like Damien Hirst and his Treasures From the Wreck of the Unbelievable,” ( 2017) an underwater
fantasy, with enormous sculptures and hundreds of other objects fashioned to look as though they
were antiquities dredged up from the bottom of the sea, exposed in the Palazzo Grassi and the Punta
della Dogana, two museums run by billionaire François Pinault, the Parisian collector who is also the
owner of Christie’s auction house. His last big project, after more than 20 years after first floating of
the idea of creating an art institution in Paris is a private museum Bourse de Commerce finally open
to the public as the least venue after the Palazzo Grassi and Punta della Dogana in the May 2021,
while opening cultural venues after a six-month closure due to the coronavirus pandemic.

“ For years, I have longed to be able to show my collection in Paris, the city I love. This is why
inauguration of the Bourse de Commerce – Pinault Collection is of such special and symbolic
importance for me. Paris is not only the city of passion. First and foremost, it is the natural home of
artists, of their creative genius and beliefs”

Pinault said in a statement.

Damien Hirst, Punta Della Dogana, Venice, “Treasures From the Wreck of the Unbelievable,” 2017, NDSP

Another ambitious project is The Fondation Louis Vuitton in Paris, a private modern and
contemporary art canter and museum, whose iconic building was designed by Canadian born
American architect Frank O.Gehry. Foundation was established at the initiative of French
entrepreneur and LVMH group’s CEO Bernard Arnault in 2006 with the aim
to “Promote creation in the present by adopting a position of openness and dialogue among
artists, intellectuals, and the public. Astound visitors by offering a multifaceted activity that
informs, exhibits and showcases the works of the 20th and 21st centuries in an exceptional
space, surprising the public by exhibiting artists work”
in an innovative building, a model of emblematic zoomorphic architecture, respecting Gerhy's model
of additive architecture ( 2014).
 0
Frenk Gehry, Scetch for Fondation; Fondation Louis Vuitton, Paris, NDSP, 2014

The effective link between technology and Arts is established in line of Niio platform and
products - enormous, big screens, which are serving as kind of basic for moving
images: actually, they are selling content - artwork of different artists - and screens...
Several members of Niio including co-founder, Oren Moshe, had the opportunity to spend
time in Frankfurt, Germany at the B3 Biennale of the Moving Image.
Since 2013, B3 has shaped the interdisciplinary and transnational debate on trends and
developments relating to the moving image in the fields of art, cinema, TV, games, design,
communication and immersion. The aim of the Biennial is to create a broad interdisciplinary
alliance for the moving image, and offer the international culture and creative industry a
platform for innovation and exchange.
Oren Moshe participated in several official events and discussions including a panel
entitled: “Accessibility and monetization of moving image art now and in the future.
New platforms and new solutions.”
Multimedia artist Quayola uses video, computer software, and installation to explore the tension
between real and artificial spaces and surfaces. His works include animated hybrid paintings and
sculptures, time-based digital sculptures, and immersive audio-visual installations. In digital paintings
such as Topologies (2010), which examines the relationship between contemporary digital aesthetics
and iconic works of art and architecture (and forms part of the artist’s “Strata” series), Quayola took
paintings by Diego Velázquez and Giovanni Battista Tiepolo and transformed their surfaces into
animated geometric forms.
This summer, in 2021, I was contacted for cooperation by CEO of KORNEA Art Platform, Mr Arnaud
Quentin, as the platform is dealing with slightly similar concept displaying Art through Global network
of TV displaying curated playlists.
Talum d.o.o., slovene modern production company, is a world leader in a narrow circle of
the most efficient manufacturers of electrolytic aluminum and aluminum alloys.
Knowing that beside all that they had to be recognizable and original by exhibiting artists in their Hall,
recently iconic Stojan Kebler photographs.
As the President of the Management Board Marko Drobnič presented his highly motivational speech
on the KHD General Manager Silvester Kmetič's big event in Ljubljana, he was actually posing with a
originally designed stick made from wood and aluminum, crafted from a local sculptor, and with a
man's head with an expressive face, made from aluminum. They created a series of sixty of them,
each one original and slightly different.

***
 As we had contested at the beginning Art has being used like promotional tool for the companies as
well as it has historical overall impact for spiritual as well as social, political leaders, who were highly
accentuated and empowered by using Arts as means of embodiment of material and spiritual
abundance what we can witness in every culture and historical period, same for the pharaohs in
Egypt, gothic and baroque churches, Louis XIV et son Chateau de Versailles, Chapelle Sistine paint by
Michelangelo…We know that the churches are magnificently decorated and that with architecture we
can have this impact on the public, sculptures in public spaces were kind of commemorational tool
regardless to nationality or social constitution. We have educated millionaires who like Francois
Pinault, married with Salma Hayek who beautifully embodied Frida Kahlo in an biographic film,
recently opened Bourse de Commerce collection in Paris, with ephemeral wax sculptures of Urs
Fisher.
We have wealthy people who are really educated and who know that investing in arts is kind of
long investment turn and that it is likely you cannot lose there because of the permanent historically
proven values who are contributing to the overall reputation and national cultural heritage so it
cannot be neglected.
The problem that is persisting in all diverse forms of social institutions is more or less a gap
between remuneration of Creators, artists and even humanistic sponsors like it was the case of the
polymath Johan Weikhard von Valvasor who published “The Glory of the Duchy of Carniola” an
encyclopedia published in Nuremberg in 1689 ( graphic engravings describing Castles, geography,
history, etc. form the Slovenia territory), but was forced to sell his own castle Bogensperk due to the
high printing and execution cost and finished broken. Or the case of fameous architect Antonio Gaudi,
who despite all the marvelous work finished in poverty, the same case with grand inventor Nikola
Tesla…But, their work is lasting, integrated onto our consciousness and cultural heritage…

Presuming temporary monetary value is not always correlated with the real historical or effective
value of the artwork or of the Art collection. There is always some issue with those lasting values, with
the correlation of the liquidity of these assets, which we observe at the moment; the perceived value
is not necessarily the real value, means the historically and artistically proven value.
Mentioning Art linked with the reputation of some Emperors or CEO’s I’m going further towards
mine personal experiences with sponsors and clients.

1. Big painting for Academia Panta Rei for Robert Rolih office in Ljubljana.
2. Painting for Harinvest company and CEO Tomi Oražem in Ljubljana
3. Other examples of using my paintings in offices were BIsol Solar Company, with Blossoming
Magnolia, oil painting on solar panel,
4. Suncontract, a solar energy selling blockchain company, for them I’ve realized Blockchain Lady
on the used solar panel actually using sand blasted technics with those positive negative graphic
qualities.
After a starting design I used the real cutting of the surface screen which covers glass, and after
the machines of this glass producing company Steklarstvo Moste injected sand to obtain effect
of opacity. I had already before many cooperations with glass producing industries before
especially with ALU Komen company, and Steklarstvo Tulek in Primorska, as almost all windows
of my Atelier in Ilirska are covered sand blasted windows and mirrors decorations.
 Norma De Saint Picman, Sand blasted mirrors and Windows at Ilirska studio

Noravisionsolar project

I’m using those used and no more functional solar panels like a surface for oil or acryllic
painting
1. Garden of Eden – all divers paintings of seasonal blossoming flowers in my garden,
forsythia, apple trees, Hydrangeas, Sunflower, Magnolia – blossoming garden, and even
landscape paintings from the early spring or winter – La belle au bois dormant, Winter
landscape, Mountains…There are also some animals here, a roe-deer, who visited us
 regulary in spring, paon Albino, after a photo by my friend Madani Bo, taken at Ile de
Bercy…
2. Portraits - Adriano Berengo, Giuseppe Belluardo, Sir Anthony Ritossa, Sir Milan Krajnc,
David Michigan as Jesus with Saint Thomas, searching a proof, my partner manager Mr
Darko Stojan, director of Ljubljana Festival Mr Darko Brlek..there are many of them
3. Cityscapes urban scenes– the most beautiful is actually Venice by night series, nighty
fasades of Venice and their reflections in the water, which I’d exposed in Luce del eterno
exposition in Glass Cathedral Santa Chiara, Murano Island, during Venice Glass week, in
September 2020 – Palazzo Grassi, and its reflections in the Grand Canal, Ponte del Rialto,
Venezia e spettacolare anche nella tragedia I,II with Piazza San Marco covered with water,
at the time of floods in Venice ( aqua altea).

Ljubljana Christmas night, painting on solar panel

The other painting from the Noravisionsolar is a painting of Ljubljana at night, with reflections of
Christmas lights in Ljubljanica river. I was actually painted it outside, all the paintings of
Noravisionsolar are done outside, as Plein air paintings. It was really very cold, and I was doing this
painting near Ljubljana Archives, enjoying much Christmas decorations reflections in the water.
All these paintings I am doing rapidly, in a few days, the main position of elements is placed the
first day, after I'm just augmenting some layers to give more vibration to the color, always playing
with this transparency and opacity, then I apply some golden and silver applications to add some
brilliance and to accentuate this playfulness between warm and cold tones.
 Norma De Saint PiCMAN, CEO Noravision Gallery & Noravisiondecentralized Art Investments 2018

Cooperations with clients and sponsors

I will cite now some of my case studies of dealing with this particular challenge.
Mr Robert Rolih, author of amazing bestselling book about investment The million dollar
decision ( Matthew Kimberly, author of How to Get a Grip, commented about :" It is a
really unusual book about investment. It is unusual, because it is seriously easy to read, eye
opening and immediate actionable. If you don't know the first thing about investing - and
even, if you are a seasoned investor you'll find this guide to be frightening, thought provoking
and incredibly useful. "
Norma De Saint Picman, Commisioned work for Academia Panta Rei, “Between watter and sky”
November 2018, NDSP

He asked me to create an artwork for his office - to get his Meeting room more vivid with greater
impact. As I'm mostly expressive figurative artist it was really a challenge to put life into a topics which
did not inspired me at the first glance and has given me some doubts about too technical execution.
But it reminded me also a period in Paris, when kids were small and the Adrian was running in the
backyard of the Notre Dame park with his newest Blue and Turquoise kite in his hands and a
Marguerite after him among flowers and grass...
I used a wooden panel rather bigger scale, about 268 x 180 cm, and worked outside horizontally.
From seven sketches I take two and my son Adrian Samuel helped me to vectorize one; I reworked
everything in photoshop and develop prints consequently,used collage technics at first and painting
with laque application consequently, have taken several live Fb videos from the process and used
them also into edited version with dance and sculptures on Niio platform, visible above. The company
director as well as team were really happy with result.

Another case was a painting commissioned by assurance company Harvest d.o.o. and their
owners Petra Knap and director Tomi Oražem, for their newly adapted offices. Being art collectors at
heart they had a habit of investing in Arts but actually I realized this big painting especially after their
particular choice which was an expressive bright colors photo collage with pen drawings and
automatic writings. It was actually the choice of Petra, a part of elder smaller wooden collage
painting, sold on an Auction at Manager's ball 2012, entitled Flamme du serment. It radiates feminine
erotic vibration, dynamism, rose and red, yellow with positive energy, depictions of naked girl with
allusion of Sainte Thérèse’s extasy, sacral element being symbolized by golden leafs; some scary -
black and white old mans’s face with accentuated material aspect symbolized by a thick application of
ready made objects - clothing as an wave and an wooden palette. Original collage includes a Chinese
proverb that says " Don't have a business with someone you don't trust - however trust when you have
a business together "
 Norma De Saint Picman, Manager’s Ball 2012, Collage , painting on the wood, Flamme du serment, NDSP
Flamme du serment 2018, 200 x 150 cm, collage, painting on the canvas, NDSP

PORTRAIT

As portrait was from the centuries an effective legacy tool for boosting and commemorating
emperor’s or president’s reputation and presence, it can also be used as a kind of personal
promotional tool, as long as it captures inner energy radiation or person’s individual qualities and
mission - as it is the example of Growth Hacker Vin Clancy, who has an amazing preview in Ljubljana in
October 2018 during his world tour and visited also my Gallery thanks to blockchain enthousiast
Aleksander Katulus Vidmar and Youtube marketer Žan Nekrep.

Growthacker Vin Clancy in Noravision gallery with his two portraits, oil on canvas, digital print, October 2018, NDSP
The portrait is not always meant to connect with mimetical identification as it is the case of the inner
portrait of a Lady, a well known entrepreneur also giving her speeches in public, my dearest Fairy in
Golden Jacket, Ms Iza Sia Login, I’ve made after her visit of a Gallery.

Lady in a Golden jacket – Portait of Iza Sia Login, Norma De Saint Picman, Oil on a wooden panel, 90 x 120 cm, 2018, NDSP
 Savina Attai, aquarelle, golden application, 2018, NDSP

“The inaugurational speech of Melania Trump”, Norma De Saint Picman, Collage, applications on the wood, NDSP
As part of other projects - Parallels, Diana’s crown, I’d realized series of portraits depicting
president’s wives, in the process of reframing their feminine role into more powerful and decision
making domination.

Norma De Saint Picman , The Malefic, terra cotta sculpture, NDSP

Part of “Guardians” project of ceramics made from tiles, sponsored by Goriške opekarne, is the
imaginary portrait of Angelina Jolie, “The Malefic”.
 Portraits on solar panels

III
Noravisionsolar project

Portrait of Sir Darko Brlek, director of Ljubljana Festival, 2020 Portrait of Giuseppe Beluardo, owner of Glass Cathedral
Ljubljana, NDSP Santa Chiara,

Portrait of SIr Anthony Ritossa, Portrait of Adriano Berengo, Founder of

CEO Investment Summits Familly Offices, Monaco, 2020 Studio Berengo, 2020

David Michigan as Jesus and St Thomas, 2021 Sir Milan Krajnc as Chevalier avec les roses, 2021

Tosca - Portrait with Mr Dare Stojan in Opera, 2021

Norma De Saint Picman, Santa Chiara, 200 x 164 cm, 2020, NDSP, Amante du Marquise, 2020, NDS

NORAVISIONSOLAR
Unofficially founded 2018

”NORAVISION est un écosystème décentralisé reliant les artistes aux collectionneurs,

“investisseurs et galeries via le protocole blockchain.”

https://solarimpulse.com/entreprises/-1155?changelang=fr

Noravisioin Gallery is a member of Solar Impulse Foundation

To make photovoltaic cells toxic substances, lead or carcinogenic cadmium are also used, however
they are partially washed out of the fragments of solar modules with rainwater.

The International Renewable Energy Agency (IRENA) estimated an estimated 250,000 tonnes of
waste panels for 2016 and predicted 78 million tonnes by 2050. The glass can not be recycled as a
float glass due to the content of plastic, lead, cadmium and antimony. 1.8 million panels contain
approximately 45,300 kg of cadmium, which is actually removed from the panels during disasters.
Recycling is more expensive than the economic value of materials, so most panels end up in landfills.
The current problem can also be solved also by converting a solar panel into a painting, exposed as
murals in metros, airports or special auctions.The prolonged lifetime of the panel itself allows
dignified hold and creates a positive economic model that indirectly as it takes care of the fate of old
panels, creating recyclables and creating unique added value.
From the 2018 up to now, I've realised 50 solar panels, used oil paint, acrylic paint and sandblasted
technics, exposed in Venice ( Contemporary Venice, Itsliquid Group, Borders Festival, 2019), Luce dell
eterno in Glass Cathedral Santa Chiara, 2020, Artes Dei at Festival Ljubljana, Metamorphoses at
Ministry Of Culture, Republic of Slovenia.
 For the futur expansion of a project which is designed also for inclusion of other artists, two main
models are used :
I. STATIC MODEL
Paintings are used as murals in metros, industrial halls, offices, airports, 50 % of income goes to
artists, 50 % of investment deposit in Trust, which is managing funds for recycling old panels,
organization for a Foundation, Organization of auctions, curators…
2. DYNAMIC MODEL:
AUCTIONS of paintings on solar panels, painting as an independent artwork, with evaluation and
recognition raised worth and profit during auctions : 50% goes for artists, creatives, 50 % deposit in
Trust responsible for continuation of project.
Potentially we are targeting big industries, who want to accentuate the green economy and
recycling message, as the Bisol company, who is giving us panels, Suncontract, and GEN-i in Slovenia.
Noravisionsolar is targeting owners of big public spaces worldwide, more precisely places like
metros, tunnels, airports, which actually can be implemented also as a kind of governmental project.
The potential and actual impact is the aesthetical value of transformed solar panel like we can witness
at expositions like Luce del Eterno in Glass Cathedral Santa Chiara, Murano island, Italy, Artes Dei at
Festival Ljubljana and Metamorphoses, the worlds of Change , at Ministry of Culture, Ljubljana.
»In BISOL Group, we always try to act sustainably. Our faulty solar modules, which would otherwise be discarded, are
donated to the artist Norma de Saint Picman (Noravision Gallery). Instead of waste material, beautiful paintings and artistic
creations representing an exceptional cultural value are created. #sunnysideoflife "

By transformation of panel into artwork, there is totally another quality and feedback from the
environment that accompanies the panels, as the personal artistic qualities are being linked with
history and social impact.

My company Noravisiondecentralized Art Investments d.o.o. is founded by my own paintings, five of

them, in the value of 25 500 Euros, as citated by govermenatly issued evaluator of Fine Arts , art critic
Mr Alexander Bassin.

Norma De Saint Picman painting “Sunset – Hommage to Maurizio d’Eltri”, August 2020
EXPOSITIONS Noravisionsolar project
I

Contemporary Venice
Itsliquid group,
December 2019

‘Ca Zanardi, Venice

NDSP

“La reine Soleil”
“The speech of dreaming warrior”

Acryllic paint on solar panel

164 x 200 x 4 cm, 2019

“The speech of dreaming warrior”

Terracotta sculpture, bricks,
metallic structure…

Video “Parallels”

dancing performance

“Sculpture dancing blue”

Dancing performance “Sculpture dancing blue”, “La reine Soleil” “The speech of dreaming warrior”, NDSP


Dancing performance “Sculpture dancing blue”, with “Dreaming warrior speech” Norma De Saint Picman, ‘Ca Zanardi,
Venice, credits ITSLIQUID

Dancing performance “Sculpture dancing blue”, Norma De Saint Picman, ‘Ca Zanardi, Venice, credits ITSLIQUID
Dancing performance “Luce dell eterno”, Norma De Saint Picman, Glass Cathedral Santa Chiara, Murano

ll
NORMA DE SAINT PICMAN
LUCE DEL ETERNO
Glass Cathedral Santa Chiara, Murano
5.9 - 17.9.2020

Virgin tutto amor…o madre di bontade … o madre pia madre pia…

Light is present in our minds, bodies, thoughts, appearances and should be predominant; as
we are only the passengers in this world. This element is maximized and cultivated to keep
us inspired and elevated against the darkness that can eventually occur and tempt to
absorb us. Through the positivity of thoughts and clear mind the sounds and body
movements can keep us linked with the divine energy like dervish’s dancing turnings. The
Christal clear blue colors and shining transparencies of red and redish tones through the
prisms of transparent crystals of Murano glass and shining lusters have a healing vibration
of abundance and prosperity that keep us linked with the magic of ancient candles shining
in the multitude of repeating reflections…
The fire of creation giving birth to passionate artworks, the fire alchemist creating
magnificent glass and ceramics, the sound penetrating our minds and bodies linking us
invisibly to the omnipresent eternal being…Our souls, our lovings, our longings for the
bright…for the light… »

“Fille avec la bouche d’or «

Glass&ceramics plate, Glass Cathedral Santa Chiara, Murano

“Santa Chiara” painting and “Marquise chante” sculpture, opening 7 th of September 2020, Glass Cathedral Santa
Chiara, Murano, NDSP

Smiling sun”,

Glass&ceramics plate, Glass Cathedral Santa Chiara, Murano

Norma De Saint Picman,, Luce dell eterno, Dreaming warrior’s talk, September 2020

Norma De Saint Picman, improvisation on piano, opening 7 th of September 2020, Glass Cathedral Santa Chiara,
Murano, credits Ana Maria Reque
“Sunset Lido, Hommage a Maurizio d’Eltri” painting, 500 x 164 x 4 cm,
acryllic on solar panel, Glass Cathedral Santa Chiara, Murano

“Venezia e spettacolare anche nella tragedia I, Hommmage a Ana Maria Reque ”,

Opening, Glass Cathedral Santa Chiara, Murano





Norma piano improvisation, Opening, Glass Cathedral Santa Chiara, Murano
Glass Cathedral Santa Chiara,
credits Giuseppe Belluardo

“Norma singing Vergin tutto amor, opening “Venezia e spettacolare anche nella tragedia II”
Glass Cathedral Santa Chiara, Murano with peruvian designer Ana Maria Reque

Opening, Glass Cathedral Santa Chiara, Murano
“La voix de prophè te”, ceramics, glass, opening, Glass Cathedral Santa Chiara, Murano

“Marquise qui chante”, ceramics, glass, opening, Glass Cathedral Santa Chiara, Murano
 III

Opening Artes Dei, Lapidarium, Vergin tutto amor

ARTES DEI

Performance and exhibition by artist Norma de Saint Picman 24. 9. - 23. 10. 2020

24. September - 23. October 2020

Atrium and Knights' Hall, Križanke
Free entrance

The installation in the Entrance Hall of Ljubljana’s Križanke completes the cycle as the third in a
series of exhibitions in September, which included a presentation with performance and ceramic
sculpture at “Fragmented Identities”, part of the BORDERS Festival presented by the ITSLIQUID
platform in Palazzo Albrizzi-Capello in Venice (September 4 th, 2020), and a major solo exhibition of
paintings on solar panels, ceramic sculptures, painted ceramics and glass plates, accompanied by the
opening performance “Luce dell eterno”, (5–17 September 2020), as part of the parallel exhibition of
the 4th edition of the international Venice Glass Week, and the 77th Venice Film Festival at the Lido di
Venezia, in the restored medieval Glass Cathedral – Santa Chiara Fondamenta on the island of
Murano. On the ground floor of the Glass Cathedral, the Peruvian-born designer Ana Maria Reque
presented “Le Zattere delle Meduse – The Marine Habitat”, an installation combining lights, Raku
ceramics and Murano glass, while on September 5, the opening day of the Venice Glass Week, an
exceptional exhibition featuring 60 women artists working in glass, titled “Unbreakable – Women in
Glass”, opened in the nearby Berengo Studio. I had the honour of meeting Adriano Berengo and
painting his portrait on a solar panel behind the hanging exhibits by Joana Vasconcelos and Ai Wei
Wei, while in the Cathedral a portrait of one of its owners, Giuseppe Belluardo, is also on exhibition.
The exhibition of painted solar panels in the Križanke Entrance Hall and the performance continue the
cycle of works from Santa Chiara – with a five-meter painting of the sunset, inspired by a photograph
of Maurizio Eltri published in the group “Lido di Venezia – Isolo d’Oro”, placed along the entire outer
wall of the Entrance Hall into the window niches of the stone wall. Placed at the exterior entrance is
my first painted solar panel – the diptych “La reine Soleil”, first exhibited at Contemporary Venice in
Palazzo Ca’ Zanardi in December 2019.
The exhibition highlights connections among painting, architecture, sculpture and performance. I
sincerely thank Suncontract and Bisol for supporting these projects.
The three panels in the inner part of the Entrance Hall with the lapidary refer to the exterior
sculptures – the medieval sculptural diptych of “Progress” and “Learning” in the arched niches of the
Plečnik-renovated courtyard with sgraffito decoration – while the painting of the Madonna and Child
is based on the stone bas-relief on the truncated corner of the wall between the City Museum and
the Križanke Church. “I have elected and dedicated this place, so that my name remains there
forever…”
In the early 1950s, the city’s Commission for Culture and Education took the initiative to restore the
nationalised monastery, which had been mostly abandoned. Plečnik came up with the idea of
designing a lapidary, and thus rearranging the monastery into what would become known as Plečnik’s
Križanke.
My mother, the architect, painter and graphic artist Alenka Kham Pičman, who was Plečnik’s student
at the time (her graduation project, titled “Ribja Brv”, envisioned a footbridge over the Ljubljanica
that would represent a continuation of the iconic Three Bridges, with stone balusters and sculptures
of Urška and the Merman and musicians), recalls how architecture students were also involved in the
design of the Križanke lapidary as part of a seminary; a part of her narrative is included in the
accompanying video presented at Križanke’s Knight’s Hall.
 Prior to Plečnik’s renovation, the entire monastery wall was plastered, finished with a wreath
cornice and covered with plain tiles and sheet metal. In 1952, the wall was opened up in several
places with the late-Baroque latticed windows from the Ursuline Convent, the plaster was peeled off,
stone joints were grouted and cement roof tiles were added. Plečnik thus symbolically transformed
the wall into the façade of the ground floor building. Throughout the composition, Plečnik
incorporated architectural remains (portals, pillars, statues) of the old demolished Ljubljana houses at
Ajdovščina, and decorated the outer wall along Zoisova Street with a plaque in memory of Andrej
Smole and a sculpture of Anton Aškerc. In front of the entrance to the former Prelature, Plečnik
designed a lapidary with a colonnade housing the remains of the former Gothic church. The small
adjacent atrium was rearranged into the Devil’s Courtyard, which was connected to the rest of the
complex with specially designed sconces.

In the inner part of the atrium, the exhibition continues with “Luna’s Boy” (stylistically affiliated to
“La reine Soleil”, with sweeping and quick applications, strong gesturality and the application of metal
parts) and three panels from the spring cycle “Paradise Gardens/Les jardins d’Eden” – “Red Bush”, “A
Bride’s Dress” and “Hydrangeas”, all executed in rich pastose coats of oil paint.

In the Devil’s Courtyard, where part of the performance will also take place, paintings from the
“Luce dell eterno” cycle will be exhibited for one day only – the “Luce dell eterno” diptych, in pastose
coats, a painting of a large chandelier from Santa Chiara, “The Red Mask”, “Venice e spettacolare
anche nella tragedia 1”, “Venice e spettacolare anche nella tragedia 2” – paintings of the flooded St
Mark’s Square, and night paintings of the Rialto and Palazzo Grassi.
On the left and right sides, on the atrium lawn, we will stroll amid a group of Priestesses –
meditating polyester sculptures in various colours from a 1997 project, presented in Congress Square
as part of the European Month of Culture.

Artes Dei – which combines dreams, consecration and the divine, is united in a
universal language of ancient cultures, countless religions and beliefs,
presenting a single pure recognition of eternal peace and love.

Norma de Saint Picman

Opening performance, reciting texte for Luce del eterno, Artes Dei…Fragmented identities, Borders Festival, Venice 2020,
September
Opening Artes Dei, La Divina, Lapidarium

Opening Artes Dei, Devil’s Court, Vergin tutto amor

Opening Artes Dei, Knight’s Hall, Pieta Signore

Opening Artes Dei, Knights Hall, with Director of Festival Ljubljana, Mr Darko Brlek

Opening Artes Dei, Knight’s Hall, recitation of poems

Opening Artes Dei, Knight’s Hall, Piano improvisations

 IV
METAMORPHOSES - THE WORLDS OF CHANGE

“Metamorphoses – the Worlds of Change”, Lobby of the Ministry of Culture republic of Slovenia, January 2021

“Metamorphoses – the Worlds of Change”, Lobby of the Ministry of Culture republic of Slovenia, January 2021
22.03.2021 FROM SUNCONTRACT ARTICLE

Solar Panels in Art

Yes, solar panels are recyclable. But not only in the classic way, by processing individual elements of
panels. They are also very useful in art. How exactly, we saw for ourselves, visiting an exhibition by
artist Norma de Saint Picman.

She recently created a series of expressive oil paintings on solar panels as part of
the Noravisionsolar project. The project is linked to the idea of sustainable development and creative
recycling. Norma de Saint Picman envisioned the use of creative paintings on used solar panels as a
means to decorate large public space and help spread awareness about renewable energies. One of
these series incorporated in the Noravisionsolarproject is called Metamorphoses – The World of
Change. The installation was exhibited in the lobby of the Slovenian Ministry of Culture and it
concluded the cycle of exhibitions known as ARTES DEI.

“At SunContract we value green energy and taking care of our environment, so we were really
excited to give our old, used solar panels a makeover at the skillful hands of Norma de saint
Picman and turn them into real works of art. This collaboration was a unique approach in merging art
with technology. It showed us that there is much beauty even in such mundane things as solar
panels. Norma was kind enough to gift us one of her works which now proudly hangs in the
SunContract office.

Norma de Saint Picman, “Fragmented identities », ITSLIQUID

‘Ca Zanardi, September 2020, Ceramic sculpture, live performance singing, reading La Divina
Who is Norma de Saint Picman?

She is a Franco Slovenian intermedia artist working in painting, graphic, and sculptures on a global
scale collaborating with art galleries in New York, L.A, and Paris. Her postmodern style incorporates
graphic works on paper from the Paris period, aquarelles, and digital graphics which merge
contemporary art with classical elegance. She is a pioneering artist who includes new technologies
and a global blockchain - based Art platform – Noravisiondecentralized.

Blockchain lady – SunContract, Solar panel sand blasted glass technics

 NORAVISION SOLAR
I
GARDEN OF EDEN

Garden of Eden, The red Bush, 2020 Garden of Eden, Hydreangeas in the evening, 2020

Garden of Eden, The bride’s gown, 2020 Garden of Eden, Sunflower, 202
 II

VENICE E SPETTACOLARE ANCHE NELLA TRAGEDIA

Venezia e spettacolare anche nella tragedia, Hommage à Ana Maria Reque, I, 2020

Venezia e spettacolare anche nella tragedia, Hommage à Ana Maria Reque, II , 2020
Malefic, La negresse, NDSP, 2016. « Sacrifice », Ljubljana Town Hall, 1997 National Library NUK, Installation 2008

Tourquoise bay, Alenka Kham Pičman

CERAMIC, POLYESTER SCULPTURE

Cooperation with factories

Story linked with work in ceramic factories

I started to practice ceramics during my study at School of Plastic arts, University of Ljubljana, with
professors for sculpture and ceramics, Dušan and Drago Tršar. We had a chance to do practice also
directly in a big ceramic factory Liboje (near Celje). At International symposium of ceramics in
Arandjelovac (near Belgrade, a part of symposium Marble and sounds, former Yougoslavia) we were
placed in a big factory producing electricity ceramics. There were also professional ceramists invited
to advise us for the choice of a glazes and other technicalities. In about a month I realized two big
pieces , Turquoise couple, Mother with a child, and a smaller Double man-woman profile head,
exposed successively in a town library. Here I used a fireclay for a first time, fired to the stoneware
with a specific matte crystalline glaze, beautifully turquoise while applied in thick application whether
orange in tiny applications.

I started to realize a couple, a man and a woman, meditating in a bouddha position, at home, after
several years, using the same fireclay I actually commanded from Arandjelovac, ( 120; 140 cm high...)
and fired them in a smaller terra cotta producting company Terra r.d. in Komenda near Kranj. Both
sculptures were fired successfully and I started to take a mold using silicone chaucouc and a firm base
( for a female sculpture only), which served me as a starting point to produce fifteen sculptures for a
project Priestesses, which was actually exposed in Congress square in Ljubljana in 1997 at the
occasion of the European month of culture, I performed dance with piano syinthesizer improvisations
on my poems, previously enregistered with help of slovenian composer Janez Matičič.
For the silicone chauchouc I was sponsored by Wacker Chemie, München, with intermedia of Mr
Egidij Seles, Color Medvode, another company producing Colors and Polyester, sponsored me with
polyester. However, as I’ve got pregnant at the time, I was able to realize only two of Priestesses, and
another company, Veplas Velenje, helped me to realize thirteen of them.
Priestesses, polyester sculptures installation, 1997

The same sculpture was two years ago digitalized and a small 3d model ( 5 , 3 cm) issued from that
procedure ( for a personal show in a Small gallery, Cankar Hall, 2014).
Initial project called Hundred and twenty guardians of harmony, ( designed in admiration of the
multiple sculptures of Chinese Terracotta warriors in Xi’an and personal experience of transcendental
meditation) a concept of sixty women and sixty man meditating sculptures did not came to
realization.

Being granted of a french Government I worked in studios of professors Georges Jeanclos and
Michel Charpentier and I realized a serie of middle sized sculptures, which were fired in the kilns of
Ecole Nationale Supérieure des Beaux Arts on Paris.“ Les fleurs arrachés de mon corps” from a Spring
series, interlacing figurative and floral elements used later for production of a video work “ Spring
flowers and autumn leaves” in 2013, artwork features three ceramic sculptures mounted in interior
space, while the eponymous video shows sculptures in natural environment, excerpts from family life,
the Venice Biennial, a poetical frame displaying my own image, a picture within a picture the
perspective of which has been manipulated, colour modification and structural transformation,
musical accompaniment.
« Les feuilles du printemps, les feuilles d’automne » video, digital prints mounted onto plexiglass, Small Gallery of Cankarjev
dom, 2014

Norma De Saint Picman, Associated Fragments of Reality, opening performance, Small Gallery, Cankar Hall, 2014
Exposition in French Resideny, Ljubljana, with HE Pierre François Mourier

I loved very much Georges Jaenclos work, his direction towards spiritual and eastern meditative,
combination of molded and directly manipulated clay, interlaced with certain sense of improvisation,
issued from the proper characteristics of clay itself, cracklings, dryings...
The sculptures from this period were exposed in Hugues Bourdin, Bernanos gallery, while etchings at
Fürstenberg gallery in Paris.
Latest work in progress PARALLELS was presented several times, in several variants.
https://www.youtube.com/watch?v=VFRhxjeeLsA
Project PARALLELS

Emona, the green queen, fire, water, air …

The project creates intertwining and confrontation of various expressive media, ceramic
sculptures, oil painting and collages, graphics and photographs, digital prints and videos.

We are experiencing artistic works in the confrontation of traditional and state-of-the-art

technologies, such as symbiosis and the interweaving of the past and the present,
whereas on the content plan is shown as a harmonious coexistence of different cultures
and civilization codes, a topic that has been of profound interest for me during many
years.

Technically and thematically, the old millennial tradition of terra cotta technics and oil
painting are confronted to the collage objects, large digital prints and editioned video.
Actually we have three 360 O videos connected to the content.

Alenka Kham Pičman, Norma De Saint Picman, Exhibition at Ljubljana Exhibition and Congress Center, 2016

In the middle of the room there is a base (brick, wood), on which we see the queen and
the king (in part, allusion to the Etruscan couple from the Louvre Museum.) The king has a
long wrapped beard - King Mathias.

The floor is covered partly with artificial and partly with a living greenery - grass. At the
pillars or along the main wall, brick blocks are built - the columns on which heads are
placed - guards - with fantastic decorations - leaves, flowers, architectural elements of
Gaudi's architecture (Sagrada Famillia).
The king The queen Ceramics, Collonal Hall, Kranj, Museum of Gorenjska

Along the main wall, we see the oil paintings of Alenka Kham Pičman with images of
Ljubljana's buildings designed by iconic architect Josef Plečnik, and her excursions from
the trips - Africa, the Mediterranean, the Karst.

Alenka Kham Pičman, Tourquoise laguna , 1999 Alenka Kham Pičman , Karst, houses, 2005, oil on canvas

Alenka Kham Pičman, Blue Bay, 2016 Alenka Kham Pičman, Runke , 2016, oil on canvas
Installation of heads of different races in the terra cotta - the Africans, Indians, Asians,
Arabs combined with architectural elements on the base - decorated brick blocks or
wooden trunks upon which the Heads of the Guards are placed bearing phantastic
headdresses - the leaves, flowers, architectural elements of Gaudi's Sagrada Famillia.

La Penseuse, 1990 Sainte Therèse, 1987 La negresse, 2016

The postmodern artistic expression is created using a mixture of influences from

Senegalese artist Ousman Sow, art deco, the warriors of X'ian Chinese grave, the gisants
of Saint Denis Basilique and the memory of Parc Guëla and Tarot's Garden of Nikki de
Saint Phalle.

In the central part of the space, we see the queen and the king in half-lying position, as
an allusion to the Etruscan couple from the Louvre Museum. The soil around is covered
partly with artificial and partly with a living green grass.

Installation of heads of different races in the terra cotta - the Africans, Indians, Asians,
Arabs combined with architectural elements on the base - decorated brick blocks or
wooden trunks upon which the Heads of the Guards are placed bearing phantastic
headdresses - the leaves, flowers, architectural elements of Gaudi's Sagrada Famillia.

“Emona, the green Queen”

Ljubljana Exhibition and Congress Center, 2016

The Queen, Norma De Saint Picman, Exhibition at Ljubljana Exhibition and Congress Center, 2016

The KIng, Norma De Saint Picman, Exhibition at Ljubljana Exhibition and Congress Center, 2016
 Guardians, Ljubljana Exhibition and Congress Center, 2016

Alenka Kham Pičman in her studio in Karst, Sveto, Komen

The element of water, air and light is represented in the drawings and paintings by
architect and painter Alenka Kham Pičman. (studied with iconic Jože Plečnik,
architectural education and work in northern countries - Denmark, Sweden, Finland;
meeting with architect Alvar Aalto. In the years 1957-1961 she painted in the projection
section Uddevalla Varvet (Thorden-Lines Shipyard) in Uddevalla, Sweden for interior
furnishings of overseas steamers; in Copenhagen, in architectural bureaus architects
Jørgen Bo (residential building, Morgens hus house - House of the future and bridge in
the park of the Museum of Modern Art Lousiana in Humblebæk, Denmark); in the studio
of architect Professor Palle Suenson in the project business building for the firm
Burmeister & Wain in Copenhagen; in the studio of architect Jørgen Utzon in the work of
the Motel near the Caspian lake and finally, in the bureau of architects Eva and Nils
Koppel at the plans for the Technical High School in Lyngby, Denmark, and the
renovationof an old stone house for Eva and Nils Koppel.
Alenka Kham Pičman, opening at LEK Gallery, Ljubljana, 2013

Alenka’s visual world consists partly of drawings of urban landscape of Plečnik's buildings
in Ljubljana, and partly from the airplane views of numerous author's trips Djerba, Ancona,
Cadaques, Tunis as well as Karst motifs.

The hopping and virtuoso line of architectural drawings is the basis of the art
composition, which as an independent element complements and activates independent
surfaces of pure shining colors. The atmosphere is airy, shiny, positive, the colors of the
second triad are dominated by turquoise, green, purple with the emphasis on pure
primary colors.

Alenka Kham Pičman, Memories from Africa and Mediteranean Sea, oil on canvas, 2016
 Large modular sculptures of the King and the Queen as well as pillars for the Guardians
are made in Wienerberger, Ormož, Guards with fantastic headdress from the tiles of the
company Goriške opekarne. The specific raki technique is presented with three statues
created within the International Symposium V-oglje.

Integration of both, old millennia cultures and modern technologies and the emphasis on
interdependence between sculpture and architecture reminds the title Ceramics in
Architecture and Public Space, Barcelona, September 2016.

Les souvenirs d’Asie was integrated to Slovenian group, organized by V-oglje institute for
the Exposition in Sant Pau Recinte Modernista , Barcelona.

Lectures planned within the exhibition were Sculptural architecture: Antonio Gaudi,
Frank Gehry, Zaha Hadid .

Les souvenirs d’Asie, Sant Pau Recinte Modernista , Barcelona 2016

 Story of my beginnings

Norma De Saint PIcman, devant Notre Dame, with her ceramics “Kiss”, 1989

I'm daughter of Alenka Kham PIčman, architect, painter, designer and graphic artist, who studied
with iconic Jožef Plečnik, after her diploma went to the Sweden, Denmark, Finland to study and work
with northern architects. Her father, Ladislav Kham, was engaged in the construction of Ljubljana first
Skyscraper ( Nebotičnik) and had actually his architectural studio there. My eldest son Adrian Samuel
studied architecture and daughter Marguerite Voulissa also.

Alenka Kham Pičman

 Alenka Kham Pičman, architect, designer, academic painter and graphic artist, in front of her painting Tourquoise bay

Her mother did not allow her to study painting so my mother, after her loose of a small boy, who
actually should be my brother, decided to study Arts, after completing architectural studies. I was
three years old at the time of her entering Academy of Fine Arts in Ljubljana, so I remember vey well
big paintings and the smell of terebinthinate and oil painting, and I decided to be a painter.

“Autel”, etching, 1981

At the same time, I admired very much opera singing, it was another love, I wanted to be an opera
singer also; my father, at the time, during his visits to United States and India acquired lots of vinyl
records, and I was listening Don Giovanni, Mozart’s Opera, and remember very well a scene from
reviving of a statue of a murdered father of Donna Elvira.
Bur as my mother already bought a piano - which was her desire it was more natural for me to learn
piano, however, I did not like much taking lessons but rather doing piano improvisations, as I still do.
By the time, I’d started to love it, despite of all suffering, and lastly finished secondary school with
prof. Darinka Bernetič, to the point that I was wondering to study music professionally but gave it up
for for Academy of Plastic Arts, my deepest whish, where I suppose to found more creative freedom. I
finished it, worked a lot, my professors were Štefan Planinc, Janez Bernik, Metka Krašovec, Branko
Shy, Apollonio Zvest , renowned Slovene artists.
I am a figurative artist and I’d really enjoyed to do portraits, nudes, people and was at the same
time very much acquainted with erotic component of Art, and Eros- Thanatos phenomenon.
My first big exposition I’ve made in ŠKUC Gallery in Ljubljana was Salome, the play of feelings love -
death. Yet at the time I really enjoyed doing divers technics, also in graphics. For this exhibition, there
were mainly paintings of a couple, actually I’d depicted my current partner at the time, a sculptor
Silvo Kretič, there here were paintings of a man and a woman, in different positions, with turned back,
there were psychological but also ecstatic moments painted of being in love..
On the other hand there were polyester sculptures, it was also Silvo who inspired me to start using
that material. In my polyester sculptures, there was lots of horror in there, especially one entitled “
“The bride”, but she has a face without face, a face already in degradation, and her hands were like
the skeleton hands, passionate and also big in size, and very expressive.

The bride, polyester sculpture, 1996

The other part of my polyester sculptures was inspired by Gisants – The Sarcophages as I’ve made a
tour, went to Documenta, Kassel , visited lots of German churches, and later, when I came to Paris,
was really really amazed with Saint Denis Basilique and very realistic Germain Pillon sculptures of
Henry IV and Catherine de Medici. Sarcophages depicted mainly female bodies in extatic and suffering
positions.
Gisante, 1987, Instalation in garden, Kranj Sarcophage for Immortal love, Figuration critique, Grand Palais

Sarcophage for Immortal love, Pont d’Alexandre III, Paris, 1990 Gisante II, Bernanos Gallery, Paris, 1989

Sarcophage for Immortal love,

 Installation with Robert Indiana Sculpture, Fiac 1990, Grand Palais, Paris

Another part of my expressivity was ceramic sculpture, which I started with Dušan and Drago Tršar,
renowned slowenian sculptirs, who tooked us to work in ceramic factory Liboje near Celje, where I
enjoyed very much to work.

Saloma, ceramic sculpture, with a head of Saint John in her hands, 1986, Ljubljana

I love big spaces, I love big industrial spaces, very much, and also, I love this kind of industrial
production, for short intensive periods its inspires me.
Bovhan, a friend of mine, aready passed away, gave me information about Arandjelovac Mermer I
zvuci Symposium, where I was also amazed working in one fabric for electricity production - it was
huge, dirty, but inspired me a lot. I love working with this compact matter of clay and realize a
sculpture of a couple in love.

Couple, stoneware ceramics, Aranjelovac, 1997

 In 1988 I received a Grant from a French Government to study at Ecole Nationale Superieure des
Beaux Arts in Paris, at Quai Malaquais, and was happy to work in she studios of Vladimir Veličković, a
Serbian architect and a painter from Belgrade, but much integrated in French society, awarded,
exhibiting in well renowned Galleries, once later, he’d visited Ljubljana, as he had an exhibition at
Lazo Vujić Kolizeum, while Visconti Art Gallery was still there.
During my stay at Beaux Arts I attended more eventual help from Veličković for gallery orientation
At that time I had a small studio in Cité Universitaire, where I was able to do my paintings, much
linked with my love affairs, the people I’d met.
For ceramic work, I was going to work in George Jeanclos’s studio, who was doing sculptures much
using a mold technique, inspired by Asian and Christian spiritual practices, realized a Tympanum for
one church.
Once I’d realized one big sculpture of a girl meditating in yogic position, naked, and it should enter
into a kiln, but actually never did as it was intentionally broken. Another piece entitled “L’abîme” was
was destroyed in Velickovic’s studio.
I was doing big graphics, etchings in Christian Fossier studio and lithographs in Abraham Hadad’s
studio, had a good relationship with both professors.

« Hommage à Jacques Brel », etching, 1988, Paris, 60 x 80 cm, on paper Vélin d’Arches 300 g

« Les reines du temps jadis, I », lithography, 1989, 60 x 80 cm , on paper Vélin d’Arches 300 g
The last studio I’ve worked in was a sculptural studio, of a sculptor Michel Charpentier ( prix de Rome
in 1951, surrealistic expressive sculptor, with his disaster figures in the line of Giacometti or Richier),
with whom I aligned energetically. He encouraged me to realize several floral feminine sculptures,
whose I later integrated into video work, entitled “Flowers thorn out of my body”.

The Spring, part of “Flowers thorn out of my body “series

I had a beautiful exposition in Bernanos Gallery, beautifully placed, near Luxembourg garden,
where I’d exposed lithographs, etchings, ceramics and a polyester sculpture. After we had a group
exhibition at professional Fürstenberg gallery, with three other graphic artists, Kazandian, Solberg et
Zabaleta. The gallery was oriented to surrealistic Art and had exposed some Dali photographs before,
but they are currently oriented more towards pre–Columbian Art.

Some of my graphics, etchings and lithographs, are in graphic department of collection of

Bibliothèque Nationale de Paris.

When I returned to Slovenia in between, my mother arranged for me to attend a Sidhi Course in
Sarajevo. This was a beautiful course, I was happy to do it experiencing this energy flow, from the
earth to the sky, also while singing, but at the same time, I’ve fallen in love.
I was quite well in Paris just before, and managed to have sculpture courses au Musée d’art
Decoratifs, for children. Having exposition at La Grande Masse Des Beaux Arts, I gave invitation also to
one colleague form Paris VIII University. The team of Mairie de Bobigny, where he was working, was
at the time searching for an women artist for celebration of a Women’s Day, 8 th of Mars and having
an exhibition at their place, so for me it was an amazing occasion to expose there my works, they
bought two of my works, printed them in multiple editions, and I was happy signing them. For me it
was my first monetary success, really proud entering the Printing House to sign “Bon à tirer”. All the
women from the Municipality were invited to the exhibition where they received
one of my signed graphics as a present.
The other beautiful experience was also to do a Restoration of the Caryatids at Louvre façade,
interior curt, I was working also on the face, restoring nose…
 “Sarcophage for immortal love, II” , with Milan Popov, live performance & installation, plexiglass box, pedestal, chapel
simulation, polyester sculptures, photo credits: Josif Ilić

We’ve been very much in love, but I have to return to Paris as I participated in one exposition there
in autumn, on the Salon Figuration Critique, in 1991, so he accompanied me there and even actively
participated in live performance “Sarcophage for Immortal love II – Henry IV and Catherine de
Medici”, inspired by Marina Abramović Night sea crossing with her partner Ulay.

After my return to Slovenia, after three years, I was practicing modern dance , and I’ve met a
sculptor and architect Roberto Stell, we’d done few beautiful interior design projects together, and
after passionate relationship our first son Adrian Samuel Nicolas Char is born, at Institute Mutualiste
Montsouris, in December 1997, and in June 2000, our daughter, Marguerita Voulissa Talya Hélène, at
the Salpetrière.

My imagery and Art changed a lot after being a mother, and there is one entire series being
dedicated to maternity and also women portraits, in aquarelle technics. Also, I was less interested in
erotic and destructive imagery but more on harmonious feelings and colours, as also my energy
become different as I become softer. There are also beginnings of my outdoor big paintings, even
when I was pregnant. On the project Priestesses, I was performing pregnant also, on Congress square.

Accompanying Roberto on two of his Sculptural Symposiums, I was painting Ortodox Icon’s inspired
series in Skopje and big marine paintings at Ios, Cyclades Islands in Greece. Roberto
helped me a lot also on several sculptural and architectural technical realization plans.

In 2005, we’d started to get separated, at in 2007 I’ve got in love again with manager and owner of
Audio Video Engineering Company Dare Stojan, who’s my actual partner and father of my third child,
Aron Raphaël Laurent, born in October 2008 in Ljubljana, and also sponsored lots of my artistic
projects. As he was also a member of EESC in Brussels, we’d accompanied him lots on divers trips in
European countries ( Kopenhagen, Helsinki, Oslo, Talin, Vilnius, Bucarest, Sophia…) with Aron. He
managed also to organize two of my presentations in Brussels at the beginning, in Slovenian House
and video installation “Entre les rêves et la relité “, in the E.E.S.C. building in 2008, when I was already
pregnant.

Crois-tu qu‘en se retrouverais?

Au fil des.jours
On s‘aime
On s‘éloigne
On se retrouve
Et la vie continue
Tendrement
Au recherche du plaisir
Et du sense
Qui fuit...
NORAVISION Gallery

https://www.linkedin.com/pulse/searching-team-investors-build-global-blockchain-art-de-saint-picman/

My main drive is to inspire people as an artist and as a gallerist and to maintain expanded
recognition on a global level with the perspective of collaboration with galleries in New York, L.A. and,
for my artists and me, with the help of the newest technologies and blockchain, designed
cooperation with big Art Art market promotors such as Fiac, Frieze, Art Maiami, Art Basel, Art Dubai.

Artists:

ALENKA KHAM PIČMAN

NORMA DE SAINT PICMAN

MERGERITA STELLis an extremely talented young artist, she exposes her virtuose drawings, between
outstanding hyperrealism and fantastical art; she has virtuose and precise tiny depicting lines to
create transparent and magical phantasmic, sometimes terrific as well as humoristic world using
pencil drawings, aquarelle and pastels.

Portrait Faces, mixed media on paper, 2017 Margerita Stell,

ADRIAN SAMUEL STELL

study of architecture and biology, presents Transferences, research in optical intersection of

geometrically ornamented rays in highly aesthetic black and white lace like graphics. Refined
ornamentical ornements in black and white are obtained using combination of screenshoots and
diverse computer programs.

Transferences, Digital print on paper, Adrian Samuel Stell Pičman, 2017

ARON STOJAN PIČMAN created a series of cards with motifs from his preferred animated series.
He uses the procedure of stop- play to get still image, which he copies and reworks the image
consequently.

Aron Stojan Pičman, pencil on paper, 2017

Aron Stojan Pičman, Girl with Unicorn, 2015

MANIFESTO

2019

NORAVISION, is a decentralized ecosystem through which an

eclectic pool of artists, collectors, investors, auction houses, and
galleries gather in efforts to raise awareness of the world’s most
talented artists through liquidable digital-asset investments, an AI
powered digital community, and blockchain-driven authenticity &
tracking protocols.

From the 2018, I was obsessed with idea of creation of global blockchain based Art platform, and
have had several presentations and pitchings about this subject, the first with support of Nena
Dokuzov, at that time she was head of Blockchain center in Vitanje.
Probably the most important was Parisblockchainsummit in 2019, where I pitched about a global
Blockchain based Art Platform, and met Joshua Anthony, (Cloudy Boss) Camille Harang (
www.daat.earth) and David Schmitz ( Logion, Polkadot Ambassador) with all of them I’ve cooperated
later.

NFT WORLD
The idea of taking artworks as proven financial assets was my obsession yet from the beginning of
conceptualizing Noravision, a global blockchain based Art Platform, so naturally NFT already were a
step towards that concept.

1. OPENSEA, ethereum
Created by Me
Sanctus Dei - Slovenia - work is actually linking diverse aspects of my physical creations - ceramic
sculpture and oil paintings on solar panels, yet all together linked to the project Golden Diamond
World as Digital Art (2010-2019), Certified by Verisart, Deeply connected to Leonardo da Vinci and
hidden mistery of nature, 180 countries as 1/1 NFT - Owned by 180 Art Pioneers of our time.

I entered into the project as the number 8, the number of infinity and therefore also transition
between life and death, physical and spiritual, physical and digital, real and untouchable at the same
time. “I love holistic approach of multi-facetted Arts towards Gesamtkunstwerk principle, linking most
ancient technics ( ceramics, oil painting) with the newest technologies.

Sanctus Dei is linking image of Malefic, my Angelina Jolie inspired terra cotta real sculpture ( 60 x 40 x
210 cm, on the brick pedestal) in a frame of purifying fire, and idyllic scene of my Garden of Eden in
Slovenia with birds singing, creative process of creation of oil painting of flourishing magnolia on a
solar panel. The element od Fire and Solar Energy is linked to water, trees, flowers, and beautiful
Green so charasteristic for Slovenia. But there is always something sad in a soul of a nation as this
ancient Slovene traditional song, “Kar ti je, Deklica, da si tak žalostna ..”, a maiden mourning for her
dead beloved...”

NORMA DE SAINT PICMAN French and Slovenian Intermedia artist, painter, sculptor, Founder&CEO of
Noravision Gallery and Noravisiondecentralized Art Investments Diamond to Ljubljana, capital, my
natal city.

Created by serag

Slovenia is a single edition digital country and a unique piece of the exclusive artwork 'Gold Diamond
World' hosted on GoldDiamondWorld.com, dedicated to Leonardo da Vinci. Only 180 countries will exist.
Each country is a unique NFT (1 of 1). Putting in history 180 NFT pioneers of our time! Your name will
appear on GoldDiamondWorld.com as the owner of Slovenia, including an image of your favourite artwork
and a message to mark your legacy. Each country is connected to the mathematical formula that decodes
the artwork.

2. There are variants of works minted on Rarible 1155 Token , abowe; ethereu

3.NFT STARS /ETHEREUM

 4. Hic et Nunc platform, tezos, object 167568

Sanctus Dei GDW SLovenia VARIANTE BLEUE 14/7/21

Noravisiondecentralized Art Investments Diamond to Ljubljana, capital, my natal
city

normadesaintpicman

mimetype: video/mp4

5. Collaboration with artist and gallerist Marc Craigg

Would you like a free house? My project http://URCORNY.com is now in the process of building a
metaverse with Genesis Street as the first street. It will be a free giveaway of homes to my friends on Hic
Et Nunc and also BitClout. No cost, zero fee, nothing to pay. The only requirement is a TEZOS wallet
attached to a Hic Et Nunc account. Once the house is minted on Hic Et Nunc I will send it then to your
wallet and voila you own a house in the URCORNYVERSE. Launching on 01.10.21.
https://twitter.com/messages/media/1427182545033207813
AI GENERATED ART – using words to describe your interior image …snowpixel platform
“I'm not even there, but I'm discovering it and It's beautiful ... as our whishes ... often

something happens to us that we do not expect at all but it still somehow belongs to us; our

longings elude and appears for a moment to guide us forward ...