When I paint I write site-specific visual poetry.
The language of painting is used to question perception with a hint towards reality as subjectively shaped circumstances rather than actuality.
The main goal is to study how subjectivity rises within the perception and emphasize it, to analyze personal interpretations that shape identity in the juxtaposition of reality.
My work approach is shaped by the process of remembering: we tend to forget names and years,
conversations, even particularly important facts, though we might remember some specific details like sound, taste, smell, glance, touch, and mostly- how the past made us feel – particularly not the feelings themselves more them as a fact, we convert them in value – good or bad.
I capture subjectiveness, embodying domestic objects and environment in the same selective way that memory does: capturing seemingly unimportant details to the eye. At the same time, the generic information is left out of the picture. Matisse has described this approach as a condensation of sensation, where the actual situations are transformed into harmonious shapes in relation to each other creating a perfect balance of only necessary information.
These highly subjective experiences are the ones that form our perception of reality and shape our identity, values, and judgments.
As Mondrian has said: Everything is expressed through a relationship. Colour can exist only through other colours, dimension through other dimensions, and a position through other positions that oppose them.
What kind of relationship is built with selective judgment?
The language of painting is used to question perception with a hint towards reality as subjectively shaped circumstances rather than actuality.
The main goal is to study how subjectivity rises within the perception and emphasize it, to analyze personal interpretations that shape identity in the juxtaposition of reality.
My work approach is shaped by the process of remembering: we tend to forget names and years,
conversations, even particularly important facts, though we might remember some specific details like sound, taste, smell, glance, touch, and mostly- how the past made us feel – particularly not the feelings themselves more them as a fact, we convert them in value – good or bad.
I capture subjectiveness, embodying domestic objects and environment in the same selective way that memory does: capturing seemingly unimportant details to the eye. At the same time, the generic information is left out of the picture. Matisse has described this approach as a condensation of sensation, where the actual situations are transformed into harmonious shapes in relation to each other creating a perfect balance of only necessary information.
These highly subjective experiences are the ones that form our perception of reality and shape our identity, values, and judgments.
As Mondrian has said: Everything is expressed through a relationship. Colour can exist only through other colours, dimension through other dimensions, and a position through other positions that oppose them.
What kind of relationship is built with selective judgment?
Meeting strangers / Zasulauks – Dzintari, 70 x 70 cm, mixed media, 2021
June 27th, 50 x 50 cm, mixed media, 2021
Slow mile, 50 x 50 cm, mixed media, 2021
A protected area, 38 x 40 cm, mixed media, 2021