Six textile artists: Indra Marcinkevičienė, Lina Jonikė, Vita Gelūnienė, Loreta Švaikauskienė, Jūratė Kazakevičiūtė and Barbora Gediminaitė. Nylon, velvet, thread, plastic, padding and mirror reflection in “Soft”. This term describes objects, which are soft, light and delicate, although there are many more meanings to be discovered in the artists’ works. The works cover a range of themes, but are not limited by the concept of textiles – they paraphrase and expand its synonyms through an evident frequent act of play.
The interior composition entitled “Stradivarius Waterfall” (2014), consisting of colourful panels, carpet and soft bench were created by the furniture designer Indra Marcinkevičienė. The designer is well-known for her brave colour combinations and eloquent stories. The violins the in the “Stradivarius Waterfall” composition, upholstered in brightly coloured fabrics, are masked instruments that have jokingly escaped the music world and entered into art. Or maybe vice versa, the fabric could not contain itself and started playing tunes in various colours?
Unique three-dimensional textile panels, created by the artist Loreta Švaikauskienė, remind us of sculptures rather than textile works. The artist uses her own technique, which allows her to create these eye-deceiving optical illusions. They are incomprehensible at first – from far away they look like porcelain, but upon closer inspection they are soft to touch. In appropriating the Secession style Loreta is able to express a variety of moods and sensations of a different materiality.
Lina Jonikė’s works are representative of the multi-layered meaning of textiles. They tell stories of gender and emotional identity. They are sensitive like an Impressionist’s brushstroke. The thread colours the fragments of captured moments on film. In the photographs Lina chooses to embroider the fabric, naked body or other fragments, creating multi-layered stories.
“The Hunt of the Unicorn” (2010-2011) by Vita Gelūnienė was completed using the traditional hand-woven tapestry technique. For the background the artist chose a traditional floral motif, although in the foreground she depicts a modern daily life scene of a man and a pregnant woman, which is made even more evident by the baby sitting on a chamber pot. The title of the piece is a reference to the image of a unicorn, normally encountered in medieval iconography, the symbol of innocence and purity.
Jūratė Kazakevičiūtė uses nylon to form life-size human figures and as such enriches the field of textiles with theatricality. Jūratė’s dolls are full of self-irony and sometimes look zoomorphic. Real life-size female forms, covered in thin translucent nylon are representative of real people, sometimes even more real than the eye is used to seeing in magazines. The dolls emit a dreary atmosphere until you finally befriend the vigilant observant characters.
Barbora Gediminaitė creates textile patterns using the many reflections bouncing off the mirror surfaces. These appear after a long and meditative process of working with light algorithms and taming the intangible light. The materiality in this composition is conditional and only noticeable to observers who take their time. The viewers, searching for a coded message, normally look for it in the mirror and just after lowering their eyes are left astonished realizing that they are standing on a textile work of art.