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The International Graphic Art exhibition “STRONG WATER” presented in Riga, Latvia and exhibition “MYSTERIOUS GRAPHICS” by well-known Lithuanian graphic artist Egidijus Rudinskas

2011 January 7 @ 17:00 - 2011 February 19 @ 12:00


Project “STRONG WATER” retains and further develops open workshop idea by “Etching guild” enforcing enlightening master class program in “LMS experimental etching workshop” and organizing international exhibitions.

The emphasis is on copperplate printing technique with unrepeatable charm – etching – being one of the most sounding graphic techniques, which also is that conjunctive part in the sea of variously creative expressions.   

Each etching master has his own experience with “strong water” (Aqua forte, which in translation from Italian language means “strong water”) – nitric acid with its formula HNO3. As a result of the impact from acid, visualization – cliché of the idea is being materialized. The heading “Strong water” for the authors of the exhibition in the same time serves as a source of creativity and inspiration.

Water is an unalienable component in our lives, delicate substance with reflections of memories in its multi-shaped molecular formulas. It possesses the ability to make diametrically opposed changes: to be the source of life strength or transform into a destructive weapon, reshaping into an inimical element.  

Between a number of various graphic techniques, etching stands out with its all working process being a result of hand work (even printing is being carried out by the author), which grants the print with status of a unique artistic style – master graphic.

Outstanding graphic artists are taking part in the exhibition – about sixty old masters and new artists –Latvian artists and guests from USA, Russia, Japan, Great Britain, Australia, Lithuania, Czech, Poland, Ukraine, Netherlands, Montenegro, Spain and other countries around the world. 79 artworks from Riga are exhibited at Janina Monkute – Marks museum-gallery. 

Project guardian
“ETCHING GUILD” guild master Nele Zirnīte


Dubbed by The art critics an exponent of traditional values, loyalist to classical forms and themes in graphic arts, as well as explorer of archaic vistas of idea and image, persistent adherent to Lithuanian lyrical models, the graphic artist Egidijus Rudinskas has equal­ly acute consciousness of our times. The art produced by the artist of unique world outlook, in his private style – falling into the trend of Modernism because of this unique “self”- opens up authentic imaginary reality. The building stones of this reality are universal arche­types, fundamental mythology and traditional culture, cosmic logic and existential symbolism, all presented at a unique angle and visualized according to Surreal­ist principle, appealing to the contemporary tastes. His recent work employs the vocabulary of contemporary art and represents experimental matching of different art genres and fields, novel combinations of classical techniques, a reflexive approach to reality charged with witticism.

His manner keeps changing as the progresses from etching to lithography, from painting to photography and digital graphics, from one cycle to another. He start­ed with the Address to the barth (1986-1997), moved to The Last Hours (1995-1998), Flegies (before 1997-1998); from Letters (2000-2004) to Terra (2002) and pages from The Travel Book (2004), on the way, he picked up The Flowers (1998), Twilight Plants (2002) and other. The art­ist travels from one idea to another, from one field of tension to a different one: from poetic, rural and natura melancholia, he strides into the domain of poetry and visualization of poetic texts, spends some time over the engravings of the face, dedicates several years to create, patiently and thoroughly, illustrated compositions for the entire alphabet. He sets out and never returns from the towns that might have existed, exist or may do so in the future. From these imaginary voyages he brings sheets of impressions, between these trips, takes fancy of digital graphics and drawings on sand. Throughout such a variety of approaches, multiple perspectives ap­plied in thinking and image building, the artist manages to preserve the consistency that defines a period or a cycle of works. He remains amazingly loyal to the idea, the guality indicative of the artist’s internal harmony and ability to experience the event to the very end, maturely, in the real or cyclic sense of this word.

Despite differences associated with creative periods and nuances emerging in each individual cycle, his en­tire work is linked through the artist’s integrity and his ambition to seek somewhat deeper significance. He is determined to find existential depth in the traditional culture, in the internal and external human link with the world. Human existence on the earth and with the earth, inside his self and with his self, is imbued, in his art, with multiple implications. He weaves his prints of thou­sands of stories, symbols and signs leaving no smallest patch empty, making the viewer to delve immediately into the multi-layered reality and stay there for a while. Just a quick glimpse of such a work reveals nothing. The glance is arrested by the attention to the detail, by the ever changing illusions of multiple worlds. Situations ciphered in rune-looking symbols demand concentra­tion, knowledge and dedication in decoding. The story is often convoluted too, and the means of expression strike as medieval. In this sense, the author, similarly to the enlightened person of the Modern times (or, maybe, the new Middle Ages) illustrates the fundamental truths, in an attempt to illuminate the inner eyes of the con­temporary man. How far has human mind developed to allow us calling such a historic approach as old-fash­ioned, dated or senseless?

The entire art of Rudinskas seems to serve as a ve­hicle to the literary story or idea. The artist does not at­tempt to deny his strong alliance with poetry and poetic creation as the force impacting his imagination, enticing to render its texts in images. This synergy is most obvi­ous in the etchings illustrating poetry of both Lithuanian and foreign poets. He fuses the poetic word and image into a perfectly readable reality, plastic form with lin­guistic implications.

In conclusion, the art of Egidijus Rudinskas still has room and space to turn at different angles. Yet it is al­ready undoubtedly recognizable as established on a solid national foundation, and in this respect, of signifi­cance to the revival and development of the Lithuanian art at the turn of the 20th and 21st centuries. On the other hand, the characteristic longing for a visionary world, spiritual and artistic harmony finds its place in the universality of the global world.

Jūratė Tutlytė