Realitet i metafora materijala kože u prostoru slike

Abstract

Doktorski rad Realitet i metafora materijala kože u prostoru slike, bavi se aspektima slike u odnosu na materiju, materijal, formu i prostor. Akcenat je naročito stavljen na razumevanje odnosa slika – objekat – prostor, u savremenom shvatanju slike i njena nova definicija i pozicija u modernoj umetnosti. Ovo istraživanje, zasniva se na iskustvu u prethodnim projektima i ciklusima u slikarstvu. To su iskustva u prethodna dva istraživanja: U totalu slike (2013) i Opredmećena slika (2017), gde se upotrebom neslikarskih materijala u slici, i njihovim delovanjem (ekspresivnošću, taktilnošću, energijom), specifičnim načinom izlaganja u galerijskom prostoru, istražuje prostor unutrašnjeg doživljaja na relaciji posmatrač – slika. Povod i namera ove doktorske teze, bila bi sagledavanje, uočavanja i mapiranja odnosa realnog spoljnog i irealnog, unutrašnjeg viđenja slike kroz primenu neslikarskog materijala kože u odnosu na čula i mogućnost vizibilnosti posmatrača i njegove interakcije sa slikom. Na ovaj način slika se iz kolorističke površine prevodi u novi oblik – predmet, trodimezionalnosti i oprostorenost. Otvara se jedan specifičan prostor, u kome se stvara mogućnost dijaloga i novo iščitavanje slike i njene nove definisanosti u obliku – predmetu. Sve ključne teorije, metode i tehnike slikarstva XX i XXI veka zasnivaju se na pretpostavci da je u kreativnom procesu veoma važan rad sa čulima, a posebno rad na mogućnosti vizuelizacije. U ovom radu ispituje se na kojim operativnim principima se zasniva vizuelno mišljenje i vizuelizacija i kako ti različiti principi utiču na kreativnost i stvaranje slike. U fokusu istraživanja u ovom doktorskom radu je proces nastajanja proširenog polja slike primenom materijala u strukturi slike, kroz proces vizuelizacije prostora slike, spolja ka unutrašnjem viđenju i stvaranju nove forme, objekta. Suštinu tog procesa nosi materijal prirodne kože. Primaran deo istraživanja jeste uspostavljanje odnosa prema materijalu i njegova upotreba na slici, ali i analiza karakteristika i funkcija mentalnih slika, naročito imaginativnih procesa odnosa spolja – unutra – granica. Razmatrane su različite funkcije imaginacije i vizuelizacije u svetlu raznih slikarskih praksi u modernoj umetnosti, kao i analiza shvatanja odnosa intuitivnog i racionalnog načela. Teoretska analiza je utemeljena u komparaciji različitih filozofskih koncepcija imaginacije i vizuelizacije uz poseban osvrt na uvide fenomenologije, teoretske radove ruskih avangardnih umetnika V. Kandiski, K. Maljeviča, u psihološkim istraživanjima Gestalta, umetničkim pravcima simbolizma, dadaizma i istočnjačkih religioznih učenja (zen), savremenim praksama strukturalizma i novim virtuelnim medijima (internet, mobilni telefon) i drugim digitalnim medijima. U praktičnom delu israživanja, u radu sa neslikarskim materijalom prirodnom kožom, gradeći sliku van njene dvodimenzionalne površine analizira se na koje načine primenom raznih tehnika slikarske prakse, formatom slike, konceptom izlaganja u prostoru, je moguće uvesti posmatrača u jedinstven doživljaj viđenja slike, njene strukture i same egzistencije slike kao takve.

Doctoral work The Reality and Metaphor of the Leather Material in the Space of Image deals with aspects of the image in relation to matter, material, form and space. Particular emphasis has been put on the understanding of the image - object - space relationship, in the contemporary understanding of the image and its new definition and position in modern art. This research is based on experience in previous projects and cycles in painting. These are the experiences in the previous two researches: The total picture (2013) and the Compiled picture (2017), where the use of non-painted materials in the picture, and their actions (expresiveness, tactility, energy), the specific way of exposure in the gallery space, experiences on an observer – image relation. The reason and intention of this doctoral thesis would be to look at, visualize and map the relationship of real external and real, internal vision of the image through the application of non - painted skin material in relation to the senses and the possibility of visibility of the observer and its interaction with the image. In this way, the painting is transformed from the colored surface into a new shape - object, three - dimensionality and space. A specific space opens, in which the possibility of dialogue and the new reading of the image and its new definition in the form - object is created. All the key theories, methods and techniques of painting of the XX and XXI centuries are based on the assumption that in the creative process is very important work with senses, and especially work on the possibilities of visualization. In this work, it examines which operational principles are based on visual thinking and visualization, and how these different principles influence creativity and the creation of a image. In the focus of research in this doctoral thesis is the process of creating an enlarged field of the image by applying material in the structure of the image, through the process of visualizing the image space, from the outside towards the inner vision and creating a new form, the object. The essence of this process carries the material of natural skin (leather). The primary part of the research is to establish a relationship with the material and its use in the picture, as well as an analysis of the characteristics and functions of mental images, especially the imaginative processes of outside - inside - border. Different functions of imagination and visualization were considered in the light of various artistic practices in modern art. As well as an analysis of the understanding of the relationship of an intuitive and rational principle. Theoretical analysis is based on a comparison of the different philosophical conceptions of imagination and visualization, with a special review of the insights of phenomenology, theoretical works of Russian avant-garde artists V.Kandiski, K.Maljevic, psychological research of Gestaltt, artistic directions of symbolism, dadaism and eastern religious teachings, modern practices of structuralism and new virtual media (the Internet, mobile phone) and other digital media. In the practical part of the research, in the work with non - painted material with natural skin (leather), the construction of the image outside its two - dimensional surface analyzes the ways in which the application of various techniques of painting practice, the image format, the concept of exposure in space, it is possible to introduce the viewer into a unique experience of seeing the image, and the very existence of the image as such.