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Veronika Sramaty
Veronika Sramaty (born 1977 in (now) Slovak Republic), as artist she is interested in various media, but mostly she is involved with media of painting related to classic concept of historical painting as well as its influence of neo-conceptual tendencies. She is the author of the artistic project The Top Ten (which include 10 gouache paintings on paper and catalogue).
*Veronika Šramatyová is an author belonging to the distinctive personalities of the younger generation. The characteristic feature of her work are the neo-conceptual tendencies in painting. She is interested in the connection of the two media, painting and photography, constantly exploring and analysing them. She often thematises the borders between the artist and the gallery or viewer and an artwork. Besides neo-conceptual tendencies, the artist shows a constant interest in the medium of painting, using its photo-realistic language, through which she articulates other meanings and layers, as can be seen in her painting project Entries (AKA Project 19). At the exhibition This is my place (Banská Bystrica, 2003), she presented 19 photo-realistic paintings of the entries or gates to all the houses she has ever lived in. Their small scale, framing and technical presentation create a series of impersonal documentary, non-nostalgic photographs.
==The Top Ten Project==
Veronika Sramaty in her current (2014/2015) painter´s cycle (project) The Top Ten focuses on portraiture and self-portraiture with ten great players of the art market according to the magazine Forbes. The author in her thematic series of gouauche paintings reacts to the media value of the information the magazine Forbes provided in March 2012 when they published the list of the ten best art dealers in the form of a picture report. Sramaty in her project The Top Ten semantically achieves a visual idiom – using her authorial intervention she created an unreal scenario in the real world, while at the same time the result is not an imagination or a virtual world of gamer´s type. In the series of gauche paintings however, she resigns from pathos of large formats of current art and adheres to the photographic size 3.34 x 4.92 in (8,5 x 12,5 cm). It is very refreshing that her photorealistic painting in the postmedia and postconceptual age once again introduces idea, sketch, counterfeit and manipulated photography to benefit humor. Through this it directly denies the widespread emptiness of meaning in art. At the same time she offers, using her own devices (both painterly and photographic) a dreamy, but also realistic, manipulated view of an artist from Europe, establishing herself in the fast changing rules of the American art market. Veronika Sramaty presents herself in the gauche paintings as a friend of the individual people involved in beneficent brunches, exhibit openings, afterparties, and staged formal photographs of gallerists – simply in spaces where the art is not created but rather distributed.〔The Top Ten Catalogue, Workshot, o.z., Slovenská republika, ISBN 978-80-971886-0-3〕
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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