Pictorial object

Modernistične invencije povzročijo preobrat v slikovni paradigmi, ko umetniki v začetku dvajsetega stoletja sliko na novo odkrijejo kot objekt, katerega slikovno polje ni več renesančno okno v svet, temveč prostor za iskanje novih oblik, pomenov in samozadostne likovne pojavnosti, ki je neodvisna od realnosti. Skulpturi se slika približa s preseganjem vklenjenosti v slikovno ploskev in opustitvijo reprezentacije, značilne za renesančni iluzionizem. Tradicionalne konvencije se presežejo z uporabo novih materialov, snovi in tehnik v slikarstvu, ki transformirajo slikovno ploskev. Površina in onkraj nje postaneta prostor eksperimentiranja in iskanja novih oblik ter vzpostavljanja novih pomenov. Slika na novo opredeli svoj odnos do otipljive resničnosti in ima namesto prikazovalne vse bolj materialno funkcijo. Snov postane poleg telesa tudi sama cilj umetniške prakse z neformalnimi pristopi znotraj slikarstva, ki površino preoblikujejo, presežejo.Modernistic inventions cause a dramatic turn in the paradigm of painting, when at the beginning of the 20th century artists rediscover painting as object, whose pictorial field is no longer a Renaissance window to the world but a space for seeking new forms, meanings, and self-sufficient visual incidence, independent of reality. Painting verges into sculpture by surpassing its confinement to the picture surface and abandoning the representation typical of Renaissance illusionism. Traditional conventions are exceeded with the use of new materials and techniques in painting, which transform the picture surface. The surface and beyond become a place to experiment and search new forms as well as generate new implications. Painting redefines its relationship towards tangible reality and acquires the function which is more material and less representational. In addition to the body of the painting, its material as well becomes the purpose of artistic creation with informal approaches within the art of painting, which transform and transcend the surface