U prostoru pogled se kreće, klizi, spušta, diže se ka horizontu. Klizeći, pogled se zaustavlja, uzbuđenje zaustavlja pogled. Svaki prizor je pojedinačno uzbuđenje, zaustavljeni, zadržani doživljaj. Slika prostora se sastoji od pojedinačnih uzbuđenja. Slika prostora je beskonačna... Prostor je beskonačan – slika prostora je beskonačna. Konačan je samo svaki pojedinačni doživljaj od kojih se sastoji slika prostora, ali sam je prostor beskonačan a tako i slika prostora.3 Prostor je ovde doživljen kao predeo, dakle ne u apstraktnom ili opštem smislu već precizno, jedan njegov konkretni deo koji se može shvatiti i kao neka vrsta tradicionalne slikarske teme poput pejsaža. Ali, da se ne bi brkali ovi slični pojmovi, Slobodanka Stupar na istom mestu iznosi još jednu bitnu konstataciju, odnosno odrednicu, a to je horizont: Horizont je granica (…hm?) do koje doseže misao u tom trenutku. Dalje od toga, preko nje se nalazi „s onu stranu“. Pomerajući se u prostoru, ja-posmatrač pomeram i granicu do koje doseže moja misao, ali u okviru jedne misli horizont je uvek tu, nepomerljiv i dat po sebi. Linija horizonta je i granica, međa tog trenutka u vremenu, ali je i nada u neomeđenost... Kroz uski procep između linije Iz neobjavljenog teksta Slobodanke Stupar, „Prostor–vreme–misao“, od 7. marta 1981. godine. Tekst se odnosi na „predele“, jedinu temu njenih grafika u tom periodu, koji pomaže tačnijem razumevanju smisla ove vrste radova.
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ics – the space. In one of her writings at the beginning of the 1980s she had offered the best explanation as to why space had become indispensable in her works: In space, the gaze moves, glides, goes down, and goes up towards the horizon. Gliding, the gaze stops, excitement stops the gaze. Each view is a respective excitement in itself, arrested, suspended experience. The picture of space consists of respective excitements. The picture of space is infinite… Space is infinite – the picture of space is infinite. The only thing that’s finite is each respective experience comprising the picture of space, but the space itself is infinite and therefore the picture of space as well.3 Space is experienced here as landscape, hence not in an abstract or general sense, but expressly, as one particular part thereof, which may be understood as a traditional pictorial theme of sorts, such as paysage. Nevertheless, in order to avoid mixing these similar notions, Slobodanka Stupar makes one more statement in the same place, introducing another essential determination, being the horizon. Horizon is the limit (…hm?) whereto the thought is reaching at that moment. Beyond that is what’s ‘on the yonder side’. Moving From the unpublished text by Slobodanka Stupar, Space-Time-Thought, dated 7 March 1981. The text pertains to the “landscapes”, the only theme of her graphics in that period, which helps to understand the sense of this kind of works more precisely.
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