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About abstract painting

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At the exhibition of paintings by Neža Perovšek in the Simulaker Gallery in Nove Mesto

While studying painting at ALUO, Professor Franc Novinc pointed to the knee of a model who was posing for us, future painters and sculptors, and said: “This knee is not here for you to redraw. This knee is here for your control.”

The statement seemed like something worth remembering.…



When looking at abstract paintings, people sometimes say the famous: “What does this represent?” You may have noticed that people usually don’t say something like that when looking at abstract photos (of course, there are also abstract photos).

The question “what does this represent” is rhetorical. The questioner does not even expect an answer to it, and as a rule he does not get an answer anyway, because there is no answer to such a question. Question really implies a mockery. The question is an implied mockery.

Of course, even with an abstract photo, sometimes someone asks what is on it. But at to the question, when this refers to an abstract photograph, the mockery is generally absent. The question is not rhetorical and the answer is generally available. A photograph, even an abstract one, is always a photograph of something. But even with abstract pictures, we don’t always hear the question, “what does it represent?”

We hear the question only with some abstract pictures. With most abstract paintings, the question is completely justified. More precisely – the mockery that is is justified to the question implicit. After all, mockery is justified at most anything.…

After all, the point is that he is an abstract painter – when he is unsuccessfulunsuccessful because his pictures are made by heart. This, of course, is not the only reason an abstract painter can be unsuccessful. But it often will unsuccessful precisely because he paints from his head – that is, without the control that Novinc was talking about. So the paintings of a failed abstract painter do not really represent anything (worth representing) and therefore deserve the derision implicit in the question “what does it represent”.

Sometimes it makes sense to paint from the head – sometimes interesting shapes are stored in the head. But it won’t be long. Very soon the shapes, serially painted by heart, become hard, repetitive, templated, and the whole thing becomes boring. Then and so the abstract painting turns into a mere decoration.

There are no exact boundaries and demarcations. There are no safe zones. Any high-level activity – and painting is a high-level activity – implies walking on a knife edge. Climbing that wall from Bartolo’s Alamutif you will.

Neža Perovšek (for now) walking on a blade.


More about the painting of Neže Perovšek in the contribution of the show Eighth day.

Source: Rtvslo

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