Petra Franko Cvelbar ( Ljubljana, SLO) ) begann bereits im Gymnasium für die Fotografie zu interessieren. Während ihres Studiums der Sozial- und Kulturwissenschaften widmete sich Petra mehr und mehr der Fotografie, worin sie schließlich auch ihren Studienabschluß machte. Nach ihrem Studium widmete sich mehr dem grafischem Design. Zur Zeit ist sie Art Director der slowenischen Ausgabe der Zeitschrift Cosmopolitan. Im Rahmen ihrer Ausstellung My favorite Guitarists in Bohinj lernte sie Žiga Koritnik, den international bekannten Fotografen, kennen, bei dem sie später einen Workshop besuchte. Seit diesem Zeitpunkt ist Petra süchtig nach Fotografie und Musik und beide Bereiche bilden heute einen integralen Bestandteil ihres Lebens. Musik empfindet Petra als Heilmittel, sie erfüllt sie immer wieder mit Kraft und Energie. www.petracvelbar.com
Ken Vandermark about Petra Cvelbar: "There are important parallels in the history of development between photography and jazz and improvised music. Photography began to find its voice as an art form when it moved away from an attempt to replicate 19th century painting conventions and entered the modernism of the 20th century. As that happened, photographers were present to document artists who were creating one of the most important and influential music forms of the new century. Fans and critics gained a deeper appreciation and understanding of jazz and improvised music through iconic images taken by photographers like William Claxton, William Gottlieb, Herman Leonard, Val Wilmer, and Francis Wolff; of artists like Charlie Parker, Mary Lou Williams, John Coltrane, Thelonious Monk, Miles Davis, and Ornette Coleman. The music kept evolving and photography kept changing, both art forms incorporated different aesthetic ideas and innovations in technology as the century progressed. Now - in the beginning of the new millennium - the profusion of music that can downloaded or streamed online, and the superabundance of images that can be taken and viewed on every phone, has created a situation that can make it very difficult to actually be heard as a musician or seen as a photographer.
Petra Cvelbar is special in this regard. Her photographs are much, much more than the now typical shots of people onstage playing their instruments. The work stands out, it is individual. She does what few photographers have been able to do since the early 20th century - truly capture an improvising artist "in the moment." This is an ongoing challenge because- both from the standpoint of the musician and the photographer - it's a moment that can't be planned, it is unpredictable and takes place during a spontaneous course of parallel action between the player and image maker. Despite these complexities, Petra Cvelbar has been able to indicate the 21st century reality for this music by showing individuals in the midst of creating or as characters in an instant of candid attitude- being human and who they are, as improvising artists and as people."