Veronika Rónaiová is the central person of Slovak hyper-realistic painting. In the past decade she has considered exhibitions as visual archives through which she presented her works to the public. She responds to the exhibition spaces, enters their genius loci with her pictorial installations and drawn commentaries that play a determining role in presentation of her individual works and shaping of her own image. Self-identifications, a series of paintings in which she interprets her earlier, already emblematic works, enjoy an important position within her oeuvre. While she dedicated the first decades of her creative production to photo-realistically-tuned pictures, in the second half of the 1990s she went beyond the world delineated with painting only canvas and embraced not only the gallery spaces but also space and time in her later motifs. The collage principle, applied within the picture, did appear in her works of the late 1980s but in the following decade the author stormed a kind of “an extended field” of painting and drawing and started to duplicate, replicate, layer and re-interpret her motifs.
