In my thesis, I will explore in analytical research and practical work the new dimensions of depiction of illustrations, what content would touch questions about the human psyche and existence, the inevitable existence of what is what makes sense in orderly. The work would answer the question of the dilemma of the prevalence of the dimensions of the illustration, its incidence in the three-dimensional space and the consequent effects of spatial factors such as ambient light, physicality of objects, weight, tension and contrast in composition. In accordance with the art, a substantive thread is intertwined, which would stem from the ideas of the literary directions of the 2nd half of the 20th century in Europe, before all existentialism and expressionism, and the attempt to sing them into space and material. The techniques used to outline/ illustrate what is happening differ from classical drawing and painting techniques in their natural matter, a tangible mass that is perceptive in space. Non-seasonal methods of ceramic design, such as plot construction and steeling in clay, offer a new insight into the design of ceramics and the sentimental side. The primary material would be spirit clay/ ceramics, representing bulky and structural form, and secondary material as artistically fragile and sensitive organic materials, everyday and found in nature, such as dried twigs, tea filters, lichens, sand, mosses, etc. The choice of material would affect the observer's feelings through the properties of matter in their interdependent environment.
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