Veronika Sramaty (born 1977 in Czechoslovakia), 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 gouache 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.
Studies
2005 – 2010 Postgraduate study (degree ArtD.), Academy of Fine Arts and Design in Bratislava (prof. Daniel Fischer), Slovak Republic 1996 – 2003 Academy of Fine Arts and Design in Bratislava, Department of Painting and Other Media (prof. Daniel Fischer, prof. Ilona Németh DLA), Slovak Republic
Solo exhibitions
2016 Periférne centrá Dúbravica, Projekt Jednota No.3., Dúbravica (BB), Slovak Republic 2016 Attributes of Metaphors and Intuition of Mind Galéria 19, Bratislava, Slovak Republic 2015 The Top Ten, Soda Gallery, Bratislava, Slovak Republic 2014 Landscape, Flatgallery, Bratislava, Slovak Republic 2013 About the Importance of Forgetfulness, The ArtWall Project Space, Athens, Greece 2010 Hard Work/Clean Work, Central Slovakian Gallery, Banská Bystrica, Slovak Republic 2010 Barter Collection, Soda Gallery, Bratislava, Slovak Republic 2008 Hobby Painting, Room 19_21 Central Slovakian Gallery, Banská Bystrica, Slovak Republic 2007 Jungen Slovakinnen (with M. Nociarová-Rázusová and R. Prokop), Greilleinstein, Austria 2004 Come and Win!, HIT Gallery, Bratislava, Slovak Republic 2003 Medium (with B. Balážová, J. Triaška), Medium Gallery, Bratislava, Slovak Republic 2001 Artoday (with A. Mona Chisa), Buryzone, Bratislava, Slovak Republic