The exhibit by three renown Lithuanian Fiber Artists: Eglė Ganda Bogdanienė – “MYTHS AND REALITY“, Jūratė Petruškevičienė – “PAST TIME“, Gaila Akelienė – “MY HIDING MUSIC“
2010 November 5 @ 17:00 - 2010 December 31 @ 12:00
JŪRATĖ PETRUŠKEVIČIENĖ “PAST TIME“
The anniversary exhibition is the sign of my respect and love for the old Lithuanian textile industry. All the best examples of this exhibition are kept at the museum funds, but I wanted to touch the ones that are scattered in dusty attics, lost, stained, a little tattered, discolored and almost unnecessary. The aim of my work is not only to touch the heritage precious to all of us once again, but also to provide the new content for the collections of the assembled old textiles.
The wind-blown bedspread nailed on the door (in order to avoid flies coming in) woven at a young age by the mother of its owner – that was the beginning. Now I have a greater number of them: tired of the time, but still beautiful. This is not a restoration – it is rather a certain interpretation and the other purpose, the other life. A bedspread is a symbol of textile in Lithuanian folk art, a part of the ethnic identity. As a result, I have chosen it as a leverage to express an idea of the press prohibition in the triptych “Psalms. The Year 1864”. I found a number of textiles in Metelytė village, Lazdijai District; Teiziai, Lazdijai; as well as the village of Pryga, Lazdijai District, where the 93-year-old women was about to throw away the already obsolete heritage of her mother – the best weaver of the village.
Objects, especially the household textiles, are obedient to time. With all the respect and responsibility I have tried to talk through the time barriers separating us. The holy daily round, the multi-planned use of a bedspread, the lessons of rhythm, measure and harmony, the responsibility to the heritage… All these are the themes of the works from the series “Past Time”.
I also worked on the original linen woven by my grandmother and bought in the village of Dzukija. With the help of hand and machine embroidery, I used the applique techniques. A similar technique was employed to create such earlier works as “For Grandmother Grasilda I did Not Know”, 2003 (2005, 1st Quadrennial of Lithuanian Contemporary Art; 2006. 4th Tallinn Applied Art Triennial “Two relatives”, etc.) “Blue Linen of Grandmother”, 2008 (2008. 5th International Linen Cloth Biennial “Z krosna do Krosna”, Poland), “Simnas Volost 1910” 2009 International Mini-Textile Exhibition “Centuries and Moments”, “Arka” Gallery, Vilnius.
In the year 2009, I received an individual state scholarship to create the series of textile works “Past Time”. The exhibition of these creations has already been organized in Lithuanian Recreation Centre of Puńsk, Poland (August 15, 2010 – September 30, 2010).
EGLĖ GANDA BOGDANIENĖ “MYTHS AND REALITY”
The exhibition “Myths and Reality” uses visual means to talk about love – the prophet, creator and destroyer of life and death. Love for a man, a woman, a child, faith, an idea, the homeland, duty and suffering… for everything because the bursts of this feeling turns a man into the perfect harmony or the all-destroying aggression. Where is the boundary between these two? An idea of the works came from the Biblical scenes, the reflections of which can also be observed in our times. Spelled by the beauty and eloquence of Hebrew woman Judith, Holofernes, the general of the Assyrian army, drowned in the desires of passion and love, lost his mind and… his head. Judith and Holofernes, Salomeja and John, Jael and Sisera, “Black Mamba” and Bill (in the film “Kill Bill” by the stylish violence poet Quentin Tarantino; after all, the lack of morality is not characteristic to this film). Of course, the above-mentioned duets and situations cannot be identified since in one case the female-characters are mighty warriors, in the other – the whimsy prostitutes or simply killers. Moreover, the cultural and historical context of the action – the tribal society, the times of social hierarchy and nowadays – is also different… However, all the stories can be seen as if strung on a single ideological thread, combined by the identical thought leading to a similar outcome. In an artistic installation, the classical splendor of dramatic scenes falls apart and becomes a theatrical imitation of them; here not the story, myths and personal experiences, but the conversation between images and objects, in the background of which the discussion on the issues of gender theory and cultural anthropology can be witnessed, are the most important. In the post-modern fantasy world, the ironic discussion with the classics, tradition, history and present-day impressionistically dives into the elements of textile materials and techniques.
Eglė Ganda Bogdanienė
GAILA AKELIENĖ “MY HIDING MUSIC”
I would like very much that you would listen to them so that it should not be necessary for me to say anything. In most cases it is not me who is trying to say something by her works. However, they whisper to me during their birth. It seems as if they are saying something to me alone. When I run to extremes, I hear about flexibility. If I shrink with winter cold, I see blooms which can be charming even when nipped by the frost.
I do not set myself some specific goals – I just try to be sensitive to the heart when it starts speaking to me by the following words: “The trip of every man is different and only our thoughts determines whether we will grow and mature the fruits, or whether we are still only buds. Maybe our mission is to comply with the flow, and maybe – to fly and to fly very high.”
Everything that is touched by our hands and hearts can rise for a new life. Even frozen in winter flowers can start a new life again and become buds. If God allowed us to be born not as flowers, we are still able to flourish and to do that not only once. That is exactly what I wish for you. For anyone. With all my heart… With all … That is my hiding music.