The present paper aims to explore the relationships between boredom, the art object, and waste materials. I examine the development of the conception of boredom both as a phenomenon that effaces its own history and as a concept that represents an aesthetic category. I then define boredom as ''atrophy of experience'', which results in ''empathy with commodities''. In doing so, I establish a link between boredom and the ever-faster cycles of retrieving and disposing of products that end up as garbage. This is followed by an exploration of the modernist art movement, which has a significant impact on post-war art, a movement that, by incorporating rubbish, boredom, and banality, establishes aesthetics as a critical language of the tendency to erase the dichotomy between art and life. I turn my attention to correlation between painting and waste material and painting and the reduction of visual stimulation, key aspects of establishing the painting as an object. Finally, I focus on creative boredom and summarize the principle of using the found material in my works, which are established as objects through the layering and assembly of waste material and paint.
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