Veronika Rónaiová introduces with the oil painting Osamelá/Lonely (Autoidentifikácia) one of her artistic strategies she has begun to develop at the end of the 1990s. It is so called compression based on the principle of repainting her own older paintings. The author de facto uses the principle of the appropriation, but the difference is, she doesn´t usurp the other authors, but uses her own paintings...
Artist: Veronika Rónaiová
Title: Lonely (Autoidentifikácia)
Year of origin: 2006
Dimensions: 100 x 120 cm
Signature: bottom left: Rónaiová 06
Veronika Rónaiová introduces with the oil painting Osamelá/Lonely (Autoidentifikácia) one of her artistic strategies she has begun to develop at the end of the 1990s. It is so called compression based on the principle of repainting her own older paintings. The author de facto uses the principle of the appropriation, but the difference is, she doesn´t usurp the other authors, but uses her own paintings. In connection with this fact it is important to mention the term rewriting, which was included into the professional fine art literature at the end of the 1980s. While there is a discussion on the new history of art and the rewriting of the canonized art history, in Ronaiová´s work we can speak about the rewriting of her personal history, due to which she studies her own status as a woman, mother and painter. This interpretation can be proved by the painting Osamelá/Lonely from 2006, because the painter depicted three self-portraits from different periods in a completely new way. The oldest is the painting with the identical title from 1973 which the author redrew in 2003 with the black charcoal directly on the gallery wall in Žilina, where her exhibition – Malá retrospektíva/Small retrospective – took place. Both of these works were included into the painting from 2006, her current self-portrait.
One part of the final painting is the text 2nd copy, through which she confirmed the double, or even triple rewriting of her own self-portrait. In this connection we can speak not only about rewriting of the certain moments of time in the author´s life, but about the conscious changing of the media – painting – drawing – painting. The usage of the particular medium is comparable with the positive – negative principle. The painting as the primary image can be symbolically compared to the positive and the drawing on the wall to the negative, while this secondary painting drew with the charcoal is created with the expressive black contours. Those evoke the emptied template and erased content, what can be viewed as a certain form of catharsis or healing process of the author who reflects herself, thinks about her own existence through the optics of the private, cultural and social context.
She entered the art scene in the 1970s as a significant representative of the photorealistic painting in Slovakia. In the paintings from this period she captures the certain moments taken out of the everyday life rhythm (the atmosphere of the urban spaces, noisy streets in the city, ordinary situations) like a photographic moment. Since 1990s we can seen new approaches, topics and strategies in her work, she uses the charcoal drawing, painting, photography and digital print.
Veronika Rónaiová was born on May 21, 1951 in Kremnica. In 1966-70 she studied at the School of Applied Arts in Bratislava (Rudolf Fila). In 1970-76 she continued her studies at the Academy of Fine Arts and Design in Bratislava (prof. Vladimír Gažovič). She is the grounding member of the group Indivisual (1999). In 2002 she habilitated to prelector at the Academy of Arts, Architecture and Design in Prague. The lectured at the department of the Faculty of Architecture, Slovak University of Technology in Bratislava (1998-2003), since 2003 she has been leading the painting studio at the Faculty of Pedagogy and the Visual Art FdF in Bratislava.