Plan, incorporation, image

The most prominent feature in Andrej Kamnik’s creative production is his explorations of the mobility of the painting, of the possibilities of transferring it from its traditional support and incorporating it in the new environments of contemporary buildings. An academy-educated painter, Kamnik is fascinated by the role of the painting today, not just in terms of its physical presence, but in its relation to space, to its place of display, and its possible archetypal development.
The Design, Incorporation, Image project is an experiment of finding, already in the stage of designing a building, a place for a painting that will allow its later development. The solution Kamnik proposes is to define the wall as the support of the image, as a medium that can assume the role of the canvas, and to use line drawing as an element common to both painting and architecture. Starting from space and its morphology, he tries to bring the spatial lines of force under control by drawing grid patterns on canvas. With their spatial organization of forms, lines, and colors, Kamnik’s visual structures meet the demand for the illusion of three-dimensionality. Due to their inherent ability to move from the canvas onto the wall, to adapt to the environment, and to optically expand into the room, the modular organisms are not just bearers of latent illusionism, but represent space with their newly established relation to the extra-pictorial context. Wall applications and shells of rooms are in effect pictures of interiors, environmental in character, works that question, with their applicative potential, the physical reality of the environment into which they are incorporated.