10. 7. 1992 – 2. 8. 1992
Both Marinič’s working environment and the works deriving from his earlier paintings testify that concretely observable entities clearly represent one of the basic inspirational sources of his painting. On the other hand, some of his artistically superbly organized constellations of the pictorial field testify to his theoretical knowledge and skill. Since it is the line drawn by the painter that can preserve it on the bearer more consistently than the spontaneous, picturesque stroke made by the painter(of the kind used by our artist), we might even venture to advance one of the hypotheses, namely that it is precisely in this verticalization of the horizontally placed field of painting, or the horizontalization of the vertical easel used during the working procedure, that lies hidden some deeper content that could possibly be read by simply viewing the perplexity between the elements of nature and the elements of the visual in Marinč’s works.ih delih.