| Abstract [eng] |
The theoretical part investigates the problem: how the image exists alongside the infinite Nature’s phenomenon that origin is preserved but is perceived as mush as human’s cognition abilities allow; how in case of collision with the images of reality, ―transference‖ of images into human’s consciousness happen where they become the equivalents of reality’s images – ―copies’. All these processes are united by the power of intellect capable to revive previously acquired images. In addition, the problem of certainty of complex ideas of the intellect emerges – to what extent it is possible to convey the illusionary image of reality, to reveal actuality. Master’s final project consists of the collection of ten painting works named ―Charred Tytuvėnai Monastery‖ that quasi imitates the plan of the ensemble of Tytuvėnai Monastery. The collection has been created using action painting and experimental burning of enamel, oil paint. As the basis of the collection, we have selected random pouring of paint and its burning. Oil paint has been used to reveal artistic image. Applying theoretical analysis to substantiate the works in the descriptive part we have been looking for the authors who use fire as one of art expressions. Bernard Aubertin creates paintings from matches that after the performance become a trace of smoke and burned wood. B. Aubertin states that it is a perfect disclosure of art powers. The painter of ―Angis‖ group Mykolas Šalkauskas selected in his opinion worthless paintings and really burned them unmercifully. The founder of Casoria Contemporary Art Museum Antonio Manfredi uses burning of paintings as a form of protest. Paul Bakker burns his paintings and in this way ―sends‖ them to the friends who have passed away. |
