Easy remembered and impressive Vytautas Tomaševičius’s paintings undoubtedly contain some distinctive magnetism, which is tranquil, but intriguing, just like the steps of waltz, leading the spectator to the perception of the painting. The paintings themselves are like human passions, labyrinths of intelligence and creativity, the travelling in which take place through the tenderness of skin, fragility of moment, attraction of look, attempts of intelligence, contemplation of tradition and burst of inspiration. All this are inseparable, but often confronting fragments of inner and outer world, creating us and the world around us. Therefore, in most cases, to define the creative work of V. Tomaševičius the principle of contrast suits quite well. However, this is not offensively bold or shocking contrast neither in notional nor visual meaning.
Speaking about the contrast we should start from V. Tomaševičius’s personal painting technique. Dark unicoloured graphical seal is placed on the basis, which is formed by realistic, in most cases, figure painting. Here the game begins: the graphical seal in its nature is stricter and more precise than the painting itself, which is the game of a brush, painter‘s fingers, colours and their tones. In the meantime, looking at the plot of the paintings it seems like the painted part is more realistic and clear than the graphic signs covering it at some places. Or maybe, on the contrary, they just highlight and complement that first, plot based, layer of the painting.
We may only guess what this contrast of realistically and locally coloured man and woman‘s faces, abstract signs, reminding illegible characters, mean.
Is it reality/ unreality, passion/intellect, culture/nature?
Or maybe they are the lines of the inner world map, inside and outside of everybody of us unnoticeably but persistently marking off every beat of the heart or intellect. One thing is obvious; V. Tomaševičius’s language of signs and symbols is easily interpreted and is legible in all the languages.