The Grand Painting Exhibition with a Pile of Paintings

help of those perform temporary and occasional jobs. And, in the end,
there is something to sell and buy. Win-win art.
So, the artist really took this lesson seriously and fell to work vigorously.
She took the money received with the prize and, like a “true painter”,
bought various paints: high-quality acrylics, oils – mostly Daler-Rowney,
of which she mainly used raw and baked umbra (for she studied at the
Belgrade Academy, after all), but also Naples yellow, titanium white,
many different blues, but most often blue-gray (the favourite colour of
the author of these lines, which attracted him to these paintings), and
she also used oil paint in Winsor & Newton sticks and acrylic in Liquitex
Professional spray. She bought, of course, all kinds of brushes of various
manufacturers. She bought canvases – fortunately the smaller ones already
stretched – and, in a little less than a month, she painted 33 paintings,
at least so far. She first claimed that she had painted 35 of them, and
we don’t know what has happened with the missing two, although the
artist says she has simply counted them incorrectly.
The organization of the production process looked roughly like this: first,
without even knowing that some real paintings would arise from it, she
took photographs of the city she was visiting – a view of the Brooklyn
Bridge, a view from below at high buildings, a view from above from high
buildings, a glimpse through a wired fence of something that is enclosed
by the wire fence, a portrait of an unknown girl on a subway train, and
afterwards of some other people on the subway, a self-portrait with a facial
cosmetic mask, white clouds and a beach on Coney Island, a fairly
smashed car, a detail on the facade of a building, a detail of the canopy
of a ginkgo tree, then one serious gallery-talk, an umbrella that flew into
the wind, some luggage unloaded on the street, a selfie in the mirror, and
again some paintings in a gallery, and some more paintings in a gallery,
and a man in a gallery watching the paintings, and many other things
that could be expected as a nice remembrance of a journey like this.
These photographs have thus become mechanically produced raw materials,
and then came processing of this raw material by means of technical-manual
processing, i.e., with the help of a computer programme
designed for this kind of image manipulation. This kind of processing