I am interested in the issues of the original object and its copy. Objects' relationship between perceived and real history. In my work, I restore the missing National museum – Palace of the grand dukes of Lithuania exhibits fragments. My interpretation and creation of the object is based on Kristina Sabaliauskaite book "Silva Rerum, which tells the story of characters and historical events that took place in Vilnius in XVII century. Fragments, both from the book and exhibit, when separated from the context become a new construction material for creation. The connection that occurs between people, time, materials, history, allows to view my work not as an archaeological research, but as a new content, collection of objects, accidents and congruences, completing both the books' and the museum exhibits' sequel gaps.
BEAUTY AND ART
I was wondering how the information overflow makes people read superficially, quickly process information and above all reject any deep reflection. Unlike in the past, an educated person has to devote most of the attention to information filtering. Text underlined in pencil - interpreted as the most essential part of the book. I specifically select those parts and put them into a shortened version of the book. In this case, the text is seen through a prism of students while still seeing the result of what we discard as "excess". Save time - "Beauty and art" shortened.
PRODUCTS OF CIVILIZATION
In my work I speak about the cult of disposable items. The selected object is a handkerchief - a symbolic object (a farewell symbol, knot binding, wrapping expensive items, embroidery of the family initials, etc.), which completely disappeared in the increasingly universal world. The replacement - disposable tissue paper, which does not maintain traditions and symbols. It becomes an impersonal soulless product of globalization. Little by little, it happens with other things. In my work I speak about impersonal objects that become more universal over time, about loss of traditions and the economic system forcing every object to turn disposable regardless of its value or symbolism.
It's about the role of artwork in culture with preexisting stereotypes from which we hardly dissociate. The original idea - a starting point from which develops the world of ideas, creating a global view, continuity. An image is composed of pixels forming a coherent whole for us to understand. Such artists as Idris Khan, Sherrie Levine, John Baldessari, Tom Hunter in some of their works compress a repeating timeline into indivisible moments. I reproduce each of their reproductions again and compress them into a single pixel, a single point, which is like a closed curve symbolising an infinity. Each pixel - a separate reference to history of art, completing it all, but also eliminating the boundaries of authenticity.
22,80Lt=320Lt and 148,80Lt=320Lt
22,80Lt=320Lt and 148,80Lt=320Lt (2012)
When questioning the aesthetic value of objects I chose brick as the subject. Bricks are used for creating interiors and exteriors which makes us see them aesthetically and question their value. By putting the equality sign between a square meter of bricks and a square meter of its photography I compare their value. In both architecture and photography a square meter of bricks usually completely changes its value.
First recordings (2012)
In this video work I am talking about the video deflection and loss between two different video formats (4x3 and 16x9), analyzing how format can change the composition of visible image, aesthetics, and content when the first film recordings become digitized. This work covers the period from the appearance of the first moving image, documentary film frames, up to the first movie with a sound track when video gradually becomes 'entertainment'.