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V magistrski nalogi se posvečam obdelavi intermedijske podobe. Ta vključuje in prepleta medije slikarstva, grafike in fotografije. V podobi je posamičen motiv grajen glede na celoto podobe, lahko pa je razumljen tudi avtonomno. V mojih delih vizualno prevladuje medij fotografije. Ta je najpogostejši most med posameznimi motivi. Prek fotografije se uprizarja razlika med objektivnostjo in subjektivnostjo podobe. Fotografije, ki jih oblikujem, preslikavam in kot orodna sredstva vključujem v celoto podobe, gradim po principu diahronije tako, da združujem podobe iz različnih časov. Povezuje jih proces asociativnega spomina, v katerem se povežeta čas in prostor iz več raznorodnih sekvenc. Vidnost podobe temelji na vsakdanjem pogledu na svet, prikazanem prek fotografskega objektiva, kar pa še ne pomeni, da je ta popolna, objektivna reprezentacija sveta pred nami. Fotografija je vsem dostopen medij, katerega prikaz sveta si prilaščamo in povzemamo kot nekaj, kar bi lahko bilo pred nami v katerem koli trenutku. V ta objektivni prikaz vključujem subjektivne poteze, ki se pojavijo znotraj tega pogleda na svet. Tako se skušam približati simulaciji videne/gledane podobe ter uprizoriti to, kar se stoji za njo. In my master's thesis I dedicate myself to the process of the intermedia image. This includes and intertwines the media of painting, printmaking and photography. In the image, an individual motif is built for the sake of the overall image, but it can also be understood as an autonomous work. The medium of photography is visually predominant in my works. It is also the most common bridge between individual motifs. The difference between the objectivity and subjectivity of the image is seen easier through photography. The photographs that I rework and incorporate as tools in the corporate image are built on the principle of diachrony by combining images from different times. They are connected by a process of associative memory in which time and space are connected from several diverse sequences. The construction of visuality is based on the everyday view at the world, which is shown through a photographic lens, which does not mean that it is a complete, objective representation of the world before us. Photography is an accessible medium for everyone, whose portrayal of the world we appropriate and summarize as something that could be in front of us at any given moment. In this objective view, I include the subjective traits that emerge within this view of the world. So I try to get close to the simulation of the seen image and stage what is behind it. |
