With the advent of new media, the typical character of the image has changed. Human consciousness and especially the subconscious are drowning in a labyrinth of more and more images, offered objects, artificially created identities and almost ritual practices. Modern times still do not have to find their specific approach to images and a suitable way to deal with them. Even though images are - at least for the time being - an irreplaceable and yet indestructible form of expression and communication, so ignoring their meaning and influence seems somewhat meaningless.

If we talk today about a kind of visual culture and the influence of images on thinking and perception of reality, it is no longer possible to suffice only with the original "natural approach" and of course with the thesis about the social construction of the visual field, but it is necessary to go one step further. Images from act as certain filters through which we look at external reality, in fact they are like an invisible screen or a grid allowing us to see seemingly un-mediated content. Their meaning and very specific function lies in introducing new forms to the stage and offering new spaces to the view! If we understand the images in the context of the history or development of the media, some differences between their traditional and modern forms and the recent shock from the advent of new technologies will be somewhat mitigated. In today's world, "old" forms still survive.

I think that it is in the development of the media or the production of works of art that technical innovations are significantly reflected, so each "new" medium is always as if ahead and the thinking and perception of most individuals of the society is not sufficiently adapted to it during its inception, so each new form first raises worries The aim of my reflections is not to convince that current technologies and the resulting ways of producing images of reality are not really new or work on the same principles as previous media of a similar nature, only to point to the need to examine today's visual forms and perceptions in connection with previous images or artistic production. If we want to deal with the phenomenon of painting and its specifics in today's world and in connection with new technologies, it is almost inevitable to deal with paintings created in the context of art history, especially abstract creation, which can be described as a specific artistic genre or tradition. emphasis is placed not on the displayed objects and the mimetic function of images, but on the image itself as a medium, ie especially on the possibilities and limits of the image as such.

Abstract paintings no longer refer to external nature and familiar objects, so they allow you to look much deeper into the very structure of the painting, ie to focus on what the painting carries itself and not just what it expresses through easily identifiable figures. We have reached history until the images have undergone a huge transformation. Most of the images in the world are now created by modern technology. Traditionally, we have thought about images and the role they play in society, because we have focused on the human observer - the person looking at the image. But now we are at a time when most of the images in the world are invisible and look at us rather than us at them. In the historical context, canvas, paints and brushes were used for painting. The model was a man who was gradually transferred to the canvas. Now, in terms of the history and development of the image, I am creating a new kind of visual-digital image. It is the interior of virtual space, stored on physical material. I started creating linear worlds that should draw you in thanks to their 3d abilities. For this painting, I used technology and modern materials (canvas-plexiglass, paint-light, brush-laser). We look at the abstractions that arose from my reflections and research in the context of the history of images.