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u novijem delu Slobodanke Stupar je važan parametar za prepoznavanje procesa transformacije lika vlastite telesnosti, što postaje činilac i vlastite poetike kojom posredno predstavlja svoje telo. Indikativi, koji ukazuju na to da je telo vizibilno uprisutnjeno tamo i tada kada ga stvarno nema, upotpunjuju nekoliko njenih skulptura na kojima su otisnuti tragovi spoljnjeg dejstva tela, mesta i vremena, istovremeno predstavljaju činioce živog prema neživom, u čemu je skoro doslovno uspostavljena veza s problemom otisaka tela na grafičku ploču. To je krug iste putanje s bogatstvom vlastitih iskustava koja se na tom putu sama permanentno umnožavaju.
of printed graphics arrives at a phase of signification of the totality of destruction by which forgetting and a renewed propensity for the primordial state of its appearance are revealed. There is something akin in this to the contemporary status of old frescos; the older and the less conserved they are, the greater the consciousness of the value of their actual present physical appearance as remainder for present and future. The category of time in the later works of Slobodanka Stupar is an important parameter for the recognition of processes of transformation of the appearance of her own bodylines, it also becomes a factor of her own poetics by which she indirectly presents her body. Indications that point to the fact that the body is visibly made present there and then when it really is not there, are given by her sculptures on which the traces of external actions of her body, place and time are printed, but represent at the same time factors of a relation of the living to the nonliving by which a relation is, nearly literally, engendered with the problem of the print of the body onto the graphic plate. This is a circle of the same trajectory with a richness of experience that are permanently multiplied by themselves on that path. Тranslated by Ivo Vejvoda