Samples, 2020, mixed media, variable dimensions
In this series, painting is presented as a kind of basic material (a product of nature) that is tested by artistic means. Indeed, the purpose of this work is to examine this object with new eyes and to use analytical methods to do so. This artistic research is also presented in an appropriate way.
Exhibition installation – Krabat’s apartment.
The artist designed and had special objects made for the installation of samples of the tested paint surfaces. These represent a fusion of an image allowing for the use of painting surfaces, a shelf on which the sample can be placed, and a showcase that gives the paint a frame and a more intimate solitary space. The objects themselves are also intended to act as artistic artefacts somehow associated with modernism, which, through their neutral aesthetic, provide a backdrop to the samples.
Samples, 2020, mixed media, variable dimensions
And here there are at least a few artistic experiments that, by virtue of their innovative approach, have made it possible to observe the painterly mass in an unusual light.
For instance, one of the samples is a grey paint paste broken in half, with the inside of the paste surprisingly made of granite.
In another piece of paint, this time white, is embedded a glass prism with optical parameters. This allows us to observe the internal structure of the paint mass.
The next sample is subjected to the action of electricity from electrodes, which allow us to observe the change that takes place around it.
Samples, 2020, mixed media, variable dimensions
Samples, 2020, mixed media, variable dimensions
One could say that the series of these objects is on the edge of several media in terms of their form. The artist initially thought of these objects as easel paintings. However, in the course of the thought process, their frames and canvases were transformed into shelves or showcases, thematizing modernist grid or aesthetics. The paint got separated from the foundation and formed a congealed mass, reminiscent of an Informel sculpture. The reason for this was the artist’s intention to create an object of artistic analysis out of the painting matter. In order to facilitate such research, it was necessary to develop sophisticated Surrealist and magical Dada methods. These, in combination with the exact ones, such as measurement, optical analysis, electrodiagnostics, vibrational diagnostics, comparison, induction and others, could allow the viewer to penetrate the world of painting in an unexpected, more structured and deeper way.
