As a solution, I propose some visual overwriting techniques that allow the original artwork created in a specific interior to continue to exist in its place and at the same time to essentially fit into today. The visual image of all the proposed overwriting techniques is similar, resulting from the desire to remove the power symbols of the aggressor state from the painting and to make the depicted place anonymous.
There are several visual overwriting techniques, because the technical and financial possibilities were not specified in the initial task.
Sketches (with working titles) Mirror, Tears, Correction, Shadow.
Correction
The lace-like structure formed by crossing out contrasts with the regime depicted in the painting in its visual delicacy. The image is drawn on glass panels in front of the painting. If it is technically possible to cover the painting surface with some kind of base material without permanently damaging the original, then crossing out/crossing out the power symbols directly on the surface of the painting is also conceivable.
Shadow
Compared to previous designs, it blends into the space more, disappears into the space, attracts less attention. The color tone of the image is the same as the wall surface of the room (to blend in). If it is technically possible to cover the surface of the painting with some kind of base material without permanently damaging the original, then it is conceivable to cover the symbols of power directly on the painting surface.
In terms of form, it could also be implemented as:
- Picture frame (wooden, oak);
- Image drawn on glass panels;
- Specially shaped fabric/canvas/plate material stretched on a base frame in front of the original painting.
Mirror
The use of mirror material (or other material with a reflective surface) places an additional layer on top of the view depicted in the painting (overwrites) the existing space and light, the situation of the moment. The reflection and mirror surface of real space are changing. There is openness and layering in the change, a contrast to the black-and-white worldview. It is no longer a specific place, nor a form depicting something specific. It is a filled and empty space at the same time. Despite the substantive gravity of the original work, the resulting abstract form also allows for a freer flight of fantasy and a certain lightness. Reflections from the past are overwritten by the present.
Tears
Drawn on a glass surface in front of the painting or as clay objects (x amount of tears, attached to a metal structure in front of the painting). Making “tears” could be a collective creation and discussion. Tears were used as symbols of the complexity and difficulty of the situation, but also as a confrontation with a “strong” aggressor. The courage to be vulnerable. Tears of sadness become tears of joy, tears of liberation, tears of liberation.
