The thesis investigates the intersection between the philosophy of aesthetics and
contemporary painting practice through the analysis of the logics of presentation, the
potentials of obscurity, and the role of patterns and decoration. Drawing on my own practice,
consisting of handmade, explicitly decorative frames and canvases containing motifs of
ambiguous artifacts, fragmented landscapes, and circular and interlaced geometric patterns,
the thesis explores the formation of meaning not through narrative, but through formal
circular compositions and conflicts in representation. Through the discussion of the medieval
cleric Hrabanus Maurus and his ruminatio approach to artistic production, a conceptual
starting point is established for understanding the compilatory techniques as visualizations of
thought, which is then evaluated through the philosophies of Gilles Deleuze, Alain Badiou,
and Jacques Rancière.
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