Exhibition by three Fiber Artists: Lina Jonikė “SHE LIKES TOMATOES”, Jūratė Kazakevičiūtė “ARCHETYPE PINPRICKS”, Liucija J. Kryževičienė – Hutcheon “DIARY PAGES – CITY”
2012 October 26 @ 17:00 - 2012 December 8 @ 12:00
“SHE LIKES TOMATOES”
I have started to take an interest in experience and myths connected with tomatoes in 2007.
This fruit is linked with Lithuanian style of living, family healthy\unhealthy eating habits and petty market-gardening traditions which are disappearing and seem to occupy the balconies of blockflats. A tomato in my work is a symbol giving a possibility to develop a talk and through it to get to know a person you deal with.
I present several examples of my experience which gave me much inspiration to take up this subject:
1. Once my friend told me she liked tomatoes very much and could eat 2 kg at a time. I was shocked and decided to make a bet. Alas! I lost it! She swallowed those tomatoes easily as a candy without much effort while chatting with me.
2. I always wished to create a work associated with a plant life and a man’s. A central personage is a man. I asked my pregnant friend to be my poseur for my new work. It was spring and tomato sprouts where growing on my windowsill when she came to my studio. The meeting of a pregnant woman and tomato sprouts whispered a new story: a story of tomatoes and the birth of a child. Throughout all the spring I had been fixing that marvelous development. Tomato sprouts gave fruit and a baby was born.
3. I tried to dye with fresh tomatoes cotton cloth in 2008. To my amazement a red tomato picture faded after two weeks, while I was always scared of tomato stains on my clothes thinking they are unwashable. Then I came to a conclusion that sometimes we trust the information which is wrong.
That experiment made me get interested in tomatoes from a different angle:
A TOMATO as a FRUIT
A TOMATO as an UNKNOWN OBJECT
A TOMATO as a MATERIAL for CREATION
A TOMATO as a HERO for a STORY
I would call this exhibit by Jūratė Kazakevičiūtė a comprehensive abstract of the art she hitherto created and discovered. An abstract for emotionally ductile, socially agile and totemic art. Your appreciation of the exhibit garments Jūratė Kazakevičiūtė up. Likewise she assembles her creations on the surgical table. You follow the interim stops marked by pinpricks, you collect stigmas, and you nourish with your own blood starving she-wolves. You observe her voodoo like construction of the environment, while she hurls magic incantation dice made of angels’ femora. You anticipate the birth of a creation, face-off with the partenogenic entity, shrouded in a stocking, nurtured nymph for itself – line a metaphor wrapped in a cocoon. What will finally hatch – glaring at you with insolent or perhaps – mysterious, good-natured or maybe deceptive eyes?
The process of creating sculptures could become a sterling continuance of the creation itself – how strikingly open they are stitched with pins – the cutouts albeit being abstract and exuberant seem more eloquent than faces they transmute into. That’s the shedding of the skin – when the modern textile is deprived of its vesture. Obeys the conceptual norm of modern times. Lends and borrows from entourage media and other art field canons. The soundtrack of J.Kazakevičiūtė mute pieces following you with their eyes is – “sculpture- textile- object- installation”.
Those pieces have everything required to become a creations of art. The annoyance. The candidness. The ebullience. The shock. The inspiration. The irritants. It is all tattooed by a thousand pinpricks on a nature’s aggression suppressing sintepon. The esthetic stimulus is preserved and folded into a soft form – that’s why the “captured” intrigue in the objects and installations is far more suggestive and distinctive than it could be in tapestry or objects from felt.
Feministic art. Oh yeah. About woman and her transformation. How strong and tenacious of life she is. How creative is this six handed muse, the cook and the patroness. Her objects are rather outspoken. Always. Also when the postmodern lexis is played out, when there an emphasis on associations, or when she lashes out explicitly, “mystifying”, metaphorically. Art of J.Kazakevičiūtė is based on real physical values, the myth in the company of tangibly perceptible archetype basis transformed into reality.
The woman ant, a row of blue-eyed skinheads, crippled angels – they are all struggling forms. Considerable attention is paid to physiological motifs and materiality which convey the relationship between the visual esthetic and the information of the work. Fictile forms of Jūratė Kazakevičiūtė creations shod in women’s stockings tingle with a surreal lurid chill. Our gaze glides with trepidation over the surface of sculptures and we judge with criteria enriched with the lines from grotesque, erotica, neorealist and pop art. Accurate metaphor musters up social concerns and problems. Imagine if you place an ant horizontally, it would be an effectively humanized creature – worker. But if we place it vertically – her legs would become hands (four of them) and an ant would resemble benedictory creature inviting you into life’s mystery. Hard to believe? Then put a woman on the pedestal…
Art critic Ignas Kazakevičius
“PAGES FROM A DIARY – THE CITY”
I have chosen for this exhibition the title “Pages from a Diary-The City”. It contains impressions gained during a number of years spent on the other side of the Atlantic. The creative fantasy was inspired by the majestic silhouettes of the city buildings, shooting out before your eyes in different seasons, in bright daylight or evening mist, by the play of sparkling lights, an early evening twilight, glowing and dancing in the window panes bathed in the setting sun, shimmering like stained glass in the city space. All of this is infinite impulses of the vision, suspended moments sparking off creative ideas, transformed in artistic expression and conveyed with the help of structural connotations of textile.
In the creative process I looked for means of the new plastic language, employing the old, well-tried technique of ribbon weaving. The change of pattern, the rhythmic of lines, the texture of fabrics, the color variations were the minimalistic means with the help of which I tried to convey my visions in an artistic context thus seeking to realize symbolic ideas. The motives prevalent in the works are reminiscent of the Baltic ornament. The pieces on view are architectonic, some of them are multi-dimensional.
In creating decorative compositions and conceptual objects I aimed at the harmony of forms, the image of classical modernism and at their applicability in modern interior, as a decorative accent in the 21st century urban space.
The majority of works on display were created using the weaving technique. To make them, I used silk fabrics of different texture, cutting them in strips, which allowed technically broader possibilities to realize my ideas.
Several of my works made with the weaving technique were acquired by the Lithuanian Art Museum in Vilnius and by the Mikalojus Konstantinas Čiurlionis National Art Museum.
Artist Liucija J.Kryževičienė-Hutcheon