Original exhibition soundtrack made for spacial installation project in Ljubljana, May 2017.

****
"Vrabič paints, draws, composes songs, programs, edits, records, designs and prints what he lives, feels, and thinks in the course of everyday life and in that particular moment of creation. Despite the apparent connection to mass media and technology, his creativity is deeply confessional. As unbelievable as it sounds, this avenue of thinking leads us to draw comparisons to surrealist automatism and other forms of automatic painting (recording, composing, writing, etc.). Vrabič's visual approach to sampling, despite its similarity to working with music, design, and contemporary video, is very personal and at the same time almost automated, which means it cannot be fully translated to speech or enunciation." - Petja Grafenauer

****
"The visual layout is also accompanied by a sound installation, where the author focuses on creating voices and tones, a part of his daily practice. In his artwork, Vrabič simply cannot avoid questions about the act of creation, about the link between privacy and professional obligations, between intimate family life and public artistic activities. Just as an artist's professional career inadvertently intrudes into the intimate sphere, private life also constantly invades the sphere of creation. The author therefore analyses engagement in various disciplines, such as music and art, as well as the links between them. The musical backdrop of the installation is composed of ornate and synthetic sounds, with almost no intervention from a human voice, which runs contrary to his otherwise established practice of using vocal music and vocal rhythmization. In contrast to an ambient and content-neutral audio backdrop, the performance involves the author blowing up blue balloons as though possessed – doing breathing exercises for vocalists, or "yoga for vocalists", as he calls them. While the principle resembles singing, blowing up the balloons represents a true Sisyphean task, since rather than create sounds, the artist produces what seem like banal visual elements instead. And yet, this allows Vrabič to combine the different areas of his work into a singular whole, areas which otherwise rarely intersect in public space, even though they permanently co-exist on the personal level. The Ne-bo gesamtkunstwerk thus becomes an audio-visual allegory of the artist's microcosm, of his life and work – both tightly, almost inextricably linked." - Miha Colnar