Tok risanja narave / Tok risanja narave

Konec, Tina (avtor), Šušnik, Tugomir (mentor), Zgonik, Nadja (mentor)

V besedilu vzpostavim razmerje med teorijo risbe in značilnostmi tega medija ter mojim praktičnim magistrskim delom, serijo risb Kristalizacije (2018/2019). Svoje delo razložim skozi projekcijo osnovnih specifik medija. Začnem s teorijo risbe, opišem tiste materialne vidike tehnike, ki so značilni zanjo, jo umestim v zgodovinski kontekst, pregledam vlogo risbe v umetnosti in nadaljujem s teorijo črte ter madeža. Slednjega analiziram ob referencah iz zgodovine umetnosti, kjer v povezavi drevesa in madeža izstopa britanski umetnik iz 18. stoletja Alexander Cozens. Sledi ikonografska obdelava motiva drevesa, ki je osrednji motiv mojega dela. Ker se osredotočam na motiviko iglavcev, se posvetim lastnostim iglavcev, ki jih na svojih risbah upodabljam, in njihovi simboliki. Ker je eno osrednjih del, ki ga beremo avtobiografsko, pri slovenskem impresionističnem slikarju Ivanu Groharju Macesen, torej iglavec, se posebej posvetim tej njegovi sliki. Nadalje uporabo drevesa pokažem tudi pri delu izbranih drugih sodobnih umetnikov. Geometrizirano vzorčenje v vejah listavcev je sorodno teoriji fraktalov, zato se ustavim tudi ob le-tej. Zaključim s postavitvami risb v prostoru, ko se risba iz dvodimenzionalnega medija preobrazi v tridimenzionalnega, in ugotavljam, kakšno je razmerje med mojih delom in umetnostjo instalacij.

• Jezik: Slovenski jezik
• Ključne besede: slikarstvo, risba, teorija risbe, črta, madež, drevo, vzorci v naravi, umetniška instalacija, magistrska naloga
• Vrsta gradiva: Magistrsko delo/naloga
• Organizacija: ALUO - Akademija za likovno umetnost in oblikovanje
• Leto izida: 2019
• PID: 20.500.12556/RUL-110559
• Datum objave v RUL: 17.09.2019

Sekundarni jezik

• Jezik: Angleški jezik
• Naslov: The drawing flow of Nature / The drawing flow of Nature

Izvleček

In my master’s thesis, I discuss the theory of a drawing and a drawing’s characteristics in the first part, and the practical production – a series of drawings titled Crystallizations (2018/2019) – in the second part. My work is explained through some basic characteristics of the medium. Firstly, the thesis outlines the theory of a drawing, and presents the materials specific to a drawing. Furthermore, it considers a drawing in its historical perspective, and explores the role of a drawing in Art. I continue with the theory of a line and a blot. In the analysis of the connection between a blot and a tree through the perspective of the History of Art, I mainly refer to the 18th century British artist Alexander Cozens. I proceed with the iconographic study of a motif of a tree since my artwork revolves around it – more specifically around conifers. I investigate their properties and symbolic meaning, and try to make it visible on my drawings as well. One of the central works of art I discuss in my thesis is Macesen (The Larch) by the Slovene Impressionist painter Ivan Grohar. I explore the motif of a tree employed by some other contemporary artists as well. Another phenomenon I explore is how the geometric pattern observed in branches of broad-leaved trees calls to mind the fractal theory. The thesis concludes with placing drawings in a space. Thus, a drawing undergoes a transformation from a two-dimensional to a three-dimensional work of art, which is a perfect opportunity to observe the relationship between my work and installation art.

• Ključne besede: painting, drawing, drawing theory, line, blot, tree, nature's patterns, art installation, MA thesis