Skip navigation

Please use this identifier to cite or link to this item:
Title: Myśli nieoczywiste - pomiędzy myślą a matrycą : dzieło graficzne jako forma dialogu wyobraźni z rzeczywistością
Authors: Bury, Aleksandra
Advisor: Knopek, Józef
Keywords: grafika artystyczna; myśl w sztuce; akwatinta; akwaforta; wyobraźnia w sztuce
Issue Date: 2017
Publisher: Katowice : Uniwersytet Śląski
Abstract: What exactly is a though? In the polygraph it is an electrical impulse, which means it surely exists but at the same time remains imperceptible. The thought seems to be a kind of gesture of the mind, independent of the human will and appearing uncousciously. The senses perceive certain nuances woven into the present reality, which create new quality through the involuntary work of the mind. Thus, it becomes an important element of the wide-ranging construction called imagination, creating something which is more distinct and clear-cut, for example a picture. It could be said that the creative process or even all artistic endeavour is the product of imagination, which is no longer the domain of the artist who thinks through and creates the object. It appears also on the side of the viewer in contact with the work of the artist. The artwork, which is the product of the artist's imagination, is subjected to analysis by the viewer's mind. In this process, the viewer uses his imagination, the hidden sensitivity and the aquired cultural capital. They create new pictures and add fresh insight by joining their forces. The most important thought is usually obscured by the layers of meanings. While being concealed, it tries to draw the viewer into its world. This created world, however, is different for everyone, just as imagination is something essentially personal, peculiar, even unique. The art, including a graphic masterpiece, becomes a commentary to reality, remaining its part at the same time. At a certain point, also imagination begins to influence reality by transforming or even changing it. The imagination allows to take a fresh look at the surrounding reality and understand it. Above all, it lets the viewer discover the new face of reality, which is often ignored or even unnoticed in the multitude of everyday affairs. It seems to be an immensely important part of the dialogue not only between two interlocutors, who passionately discuss the matter of common interest, but also in the art experience. Thus, the graphic artwork becomes a new part of the real world and the picture created by the artist's imagination. For the viewer, on the other hand, it seems to be a new element constructing his reality. The imagination becomes a highly significant function, which collects the experieces, combining and transforming them and alowing, at the same time, to delve into the artwork. New signs, symbols, additions and thoughts, which constitute pictures created by imagination, appear in the viewer's mind, alowing him to find what is often deeply concealed. The series of prints "Inconspicuous thoughts" was a response to a need to take a close look at the nature of thoughts- their elusiveness, and their role for a human as they shape his world, the perception of reality, imagination and, what is closely connected, the sense of identity and of what it means to be a human. My attempt to deal with this problem ment trying to find answers to the questions stated. At the same time, I was trying to understand the experience which I have had. The beauty of a free, elusive thought, which is a part of human nature, became an element of the assessment of reality exerienced by myself at the production line. The industrial space- a place where a person tackles his own individuality and humanity, adjusting to the rythm of the machines, allowed me to exerience a certain sense of disunity. Thoughts seemed to break free from the body preoccupied with work. I realised that, although my hands were busy with almost automatic work, my thoughts and conversations I was engaged in, were no longer a part of this line. They had become independent in order to find my identity and the sense of freedom. They alow a person to step out of the world surrounding him. At the same time, they become a refuge for humanity and the source of his strength. It may seem that a machine reduces humanity. However, somewhere under this outer layer, there are hidden thoughts, dreams and conversations. What reamins is merely ensuring the quality of the work. The elusive moment of a certain stray of thoughts and the realisation of that important fact helped me to perceive the severe production landscape as a multi-faceted object. A small discovery of what my body and soul had experienced at the production line made me ponder the nature of thoughts. As we look at this production process, it seems that printmaking is likewise a kind of production line as it has its repeatability (technology) and rythm (printing process). While all the artist's senses, thoughts and emotions are engaged, something repeatable but at the same time unique is created. The works of an artist are the reflection of his imagination and soul. In the more or less conscious way, he shares with the viewer the part of himself through the thoughts, gestures and the form of his work. He uncovers his own, unique approach to the world and the way he confronts it and perceives with all his senses. The art becomes for him a dialogue, a form of communication and a means of expressing himself. His unrestricted and independent character finds in art his own place, his individual form of expression, a language which harmonizes with the needs of soul and body. The once forgotten pathways are rediscovered and the new ways appear, continually complementing the already complex organism, which is full of subjective feelings and passions. I have noticed that printmaking has become for me an essential mode and language to express what defines me and constitutes my soul. Frequently captured images and observations which are formed as I encounter different situations, became a source of inspiration and a thought-provoking impulse. The loads of imagination in me stimulate my creativity, thus becoming a commentary of reality. Then, the graphic masterpiece or even the matrix it the form of a dialogue. However, after some time I have come to realize that not everything can be told, specified and explained with the means of the human language. Graphic artwork can express what is sometimes inexpressible with the means of my words.
Appears in Collections:Rozprawy doktorskie (WSiNoE)

Files in This Item:
File Description SizeFormat 
Bury_Mysli_nieoczywiste_pomiedzy_mysla_a_matryca.pdf10,56 MBAdobe PDFView/Open
Show full item record

Items in RE-BUŚ are protected by copyright, with all rights reserved, unless otherwise indicated.