Eroticizing the Domestic

Diplomsko delo se prek konceptualne in formalne razčlenitve lastnega umetniškega dela na podlagi štirih serij del zadnjih dveh let poglablja v razmerja med domačim in neprijetnim, nedolžnim in perverznim, človeškim in živalskim, avtentičnim in kopijo ter intimnim in javnim. Pri tem se opira na tekste Gilde Williams, Juliane Rebentish in Sigmunda Freuda z ozirom na zapuščino umetnosti nove gotike. Teksti umetnikov in teoretikov, zbrani v Documents of Contemporary Art: The Gothic (2007), bodo povezovali ugotovitve štirih poglavij in služili kot ogrodje celotnega teksta, saj je »gotsko« fluiden pojem, ki operira kot mehanizem za razpravo o teatralnih senzacijah poželenja, žalovanja in obupa ? kombinacije kritičnih človeških emocij in kompleksne vizualnosti, ki v veliki meri teoretsko podpira vse štiri serije del. Zanimal me bo lasten umetniški razvoj iz dvodimenzionalne linijske risbe, utemeljene na primeru prve resnejše in obsežnejše umetniške serije Equs Feminus (Ženske s konjsko glavo, 2013–2019), prek treh serij trodimenzionalnih objektov, nastalih v zadnjih dveh letih, v ultimativen razvoj lastnega jezika skozi unheimlich humor, odražajoč se v imenih fiktivnih protagonistov, uporabljenih v naslovih del.Through a conceptual and formal breakdown of the four series I made over the last two years, this thesis investigates the relationship between the domestic and the unpleasant, the innocent and the perverse, the human and the animal, the authentic and the copy, and the intimate and the public. This investigation rethinks the texts of Gilda Williams, Juliana Rebentish and Sigmund Freud as it refers to the legacy of the art of New Gothic. The collected texts of artists and theorists in Documents of Contemporary Art: The Gothic (2007) will link the findings of the four chapters and serve as a framework for the entire text. The ‘gothic’ is a fluid concept that operates as a mechanism for discussing the theatrical sensations of lust, mourning, and despair: combinations of critical human emotions and complex visuals that substantially support all four series of works. I will discuss my own artistic development from a two-dimensional line drawing, refering to the extensive artistic series Equs Feminus (Women with a Horse Head, 2013–2019), to three three-dimensional series of objects made during the course of the last two years. Ultimately, I will be reaserching the development of my own artistic language through unheimlich humor, reflected in the names of the fictitious protagonists created for the titles of the artworks