Page 13 - Oto Rimele | Singular

It was necessary to break with the classical commitment
to the frontal part of the painting. I turned my attention invite the viewer to reveal their sensibility and open up
elsewhere. To the edges of the painting. And then it was mentally.
necessary to go beyond – over its edge! The classical Art cannot completely replace the reality of life itself. One’s
painting addresses the viewer frontally, directly, and points own life consists of different layers of realities and truths.

their gaze to the centre. Very numerical, hierarchical and However, art must be understood as a parallel reality
European! Anthropocentric. I have turned my interest to that is important for people and as a form of spiritual
the area ”outside”, convinced that communication with communication.

myself and with the viewer needs to be reconsidered.
To get the desired effect from a painting, its lighting is
By leaving the frontal part of the painting and moving the crucial. What is your approach to lighting?
content to the lateral and back parts of the painterly image, When I use the phrase kinetic painting to describe my
I achieved the opening up of new – additional expressive luminated painting compositions, I am emphasising the

possibilities of communication. The material support of the dimension of temporality and the changes that take place
painted image had to therefore undergo radical changes. in this kind of painting, each of which generates a series of
My process of constructing the painted composition different states of its image in the interval from morning

involves a process of dematerialising its materiality. to evening. And the fact is that daylight illumination is the
The key shifts in creating this kind of painting took place bearer of these changes.
in the period between 1998 and 2006. My wife Lilijana, as
a creator in the theatre and a philosopher, offered me a The realisation that one experiences when observing such
communicative and mental environment without which I moving images of light brings one out of the anthropocentric

would not have been able to achieve the necessary critical position and back into the realm of the natural and cosmic
distance to my creative intent. As well as absolute support order. The viewer cannot fully ”appropriate” the image they
in my creative work. are looking at. They are aware that they are observing the
process of creation, transformation and obliteration of the

I am an artist who began his career in the postmodern era. painterly image, and that they are themselves only part of
From this point of multiplicity of signs, I have drawn on past this process – of the interaction that takes place between
art traditions in the context of the contemporary times. I the image, temporality and their own selves. This process
am a kind of spiritual modernist after postmodernism. A of continuous communication triggers in the viewer an

minimalist of kinetic light. active attitude of mental co-creation of the images. And
the creation and preservation of their inner Light.
Our individual actions and thoughts are always also

What do you wish to communicate or activate in the viewer? committed to the omnipotence of the Universe. And
People today are losing their spiritual substance. They certainly, Light is one of the key building blocks of
are replacing it with the inessential and material and are our Universe. And the Universe, despite its apparent
content with the rational aspect of life. That is why in immobility, is mighty, vibrant and active because of the
my work I appeal to their ability to come alive again as uniqueness of the individual minds of people. For each one

spiritual beings. of us contributes in some way. And that is what counts.
The viewer of my messages is therefore not a consumer
of a cultural event or a reader of instructions or concepts. And light is the bearer of the connection, the bond, and

They are a living, active individuum, who can and dares to therefore also Knowledge.
communicate with themselves. They are a spiritual entity.
The inseparable One! My dematerialised luminous bodies *The questions were prepared by Alenka Trebušak as part
of the Extended Vision project, Cukrarna 2024

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