This thesis explores the phenomenon of translucency and attempts to establish a connection with the author's work through various aspects of this phenomenon. The thesis examines the concept of overexposure from two different perspectives. Visually, the focus is on the use of the technique of overexposure as a visual tool for erasing/reducing information in photography and transferring it into painting practice. In a social context, this paper examines overexposure as a state of discomfort caused by excessive exposure to information and the consequent desire to withdraw. As a link to translucency and overexposure, the interest of this thesis lies in the meaning of emptiness in the field of painting and its potential for the viewer as a co-creator of the artwork. A part of the thesis is devoted to the question of the reproduction of paintings.
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