From structure to transformation: Painting and prosthetic intervention1

Often viewed as static components, the frame and support structure of a painting are reconceptualized in this article as active agents of transformation. Through the incorporation of prosthetic elements – whether material or conceptual additions – painting is pushed beyond its conventional boundaries. The prosthetic modifies and expands the painting’s form and meaning, redefining its relationship with its surroundings, its audience and itself. Drawing on Elizabeth Grosz’s concept of the prosthetic and analysing the work of Fabian Marcaccio and Greg Lynn, this article explores how prosthetic inclusion disrupts the primary functions of the frame and support, enabling a dynamic interplay between interiority and exteriority, objecthood and space. The research examines the constraints imposed by these foundational elements and proposes open-ended possibilities for their role in the evolution of contemporary painting practices. By redefining the significance of structural supports in artistic transformation, this study underscores their potential to foster innovation. Ultimately, it aims to clarify and emphasize the agency inherent in artistic processes, encouraging advancements in both practice and theory.