In both theoretical and practical parts, this work concerns the relationship between the material experience of reality and the image. The triptych Forest Scenes, which includes paintings and videos, is the basis for the research. Three different forest landscapes serve as a backdrop for the symbolic dramaturgy that plays out against them. Its axis runs along the humans vs. nature line.

The chosen work process reveals a system of forces binding the body in time and space to its associated image. Tensions balance out by forming a closed circuit with the surrounding aura, a crucial phenomenon for the subject matter discussed.

The structure of the dissertation results from the shape of thought on the eponymous problem, interlocking with the practical part of the thesis in areas marked by central nodes of meaning. It consists of three parts, referring to Matter-Body-Agent, Spacetime-Death-Transfiguration, and finally to Light-Image-Aura. The pattern of ideas derived from those considerations suggests that the image – like the body – is situated at a liminal point of reality.