In my diploma thesis, I examine the relationship between photography and artistic creation through the framework of the unconscious. In my painting practice, I draw from my own photographs, focusing on fragments that were overlooked at the moment of capture but gain significance in the process of painting. I build my theoretical framework on Freud, Barthes, Elkins, Benjamin, and Bourriaud. Freud’s understanding of art as a transformation of fantasy provides insight into the psychic dynamics of creation. Barthes’s concepts of studium and punctum clarify the affective impact of photography, while Elkins emphasizes its materiality, banality, and resistance to meaning. With Benjamin, I introduce the concept of the optical unconscious, and through Bourriaud, the relational aspect of art and the role of technology. My paintings thus emerge from photographic fragments that, within painting, become a space of ambiguity, interpretation, and dialogue with the viewer.
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