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In&Out

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In&Out or the emptiness phenomenon

The collection “In&Out” presents artworks by two painters – Patricija Jurkšaitytė and Eglė Gineitytė. Both artists, being the same age, use similar language to convey peripheral themes, yet using completely different painting styles. If one had to describe the artists’ works in a few words they would probably be: emptiness inside (Patricija Jurkšaitytė) and silence outside (Eglė Gineitytė). 

It is possible to recognise elements from classical paintings – interiors, Dutch furniture salons and hotel rooms in Patricija Jurkšaitytė’s meticulously painted canvases. These are borrowed, temporary, disowned fragments of a stranger’s life. There are no figures present in the artist’s works – the figure is the viewer. The main subjects are interiors. They are self-sufficient and strong in themselves, independent and do not require anything or anyone from the outside. There is no room for figures and the viewers are left with only their own personal relationship to these interiors. Strong, realistic and clear placement of every detail leaves no room for interpretation, everything is too clear and thus threatens to restrict our fantasy. We are left with the desire to step outside for some fresh air.

There – as if an excerpt from Chopin’s Nocture we find inspired gusts of wind, subtle sounds of freedom, the flowery smell of fields and summer breeze. These are landscape paintings by Eglė Gineitytė mesmersising us with their vast scenery and exclamations. Mist and abstract strokes barely allude to the real world. The artist conveys the mood of the surroundings using lightly audible rings of copper bells, unexpected intense and lucid colours, which show more than the real and tangible landscape actually is. These paintings are not for the pleasure of sight, but rather a language for the senses.

Different starting points of emptiness and stylistically incompatible duet of artists in this collection resound through philosophical explorations. The “emptiness phenomenon” in Jurkšaitytė’s works is understood in terms of the possibilities of experience, indicating the state of the artist and/or viewer, whereas Eglė Gineitytė is seeking to experience her own emptiness, does not have and does not imply a “position” or point of reference from which her works should be viewed.

All the works featured in this collection can be viewed at Kempinski Hotel Vilnius Cathedral Square from January 14 to February 29, 2016.

Solveiga Gutautė

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