The main material I am working with is wood & spirituality. There are several reason explained below why wood is so important and why does it play a huge role in the art.
At the moment I am researching why trees and forests are important for deep psychological reasons. In returning to the forest, we are returning to the womb not in psychological terms but in cosmological terms. We are entering communion with life at large. The existence of the forests is so important because they enable us to return to the source of our origin. They provide for us a niche in which our communion with all life can happen.
The unstructured environments which we need for our sanity and for our mental health, as well as for the moments of silent brooding without which we cannot truly reach our deeper selves, should not be limited to forests only. Rugged mountains and wilderness areas provide the same nexus for being at one with the glory of the elemental forces of life. Wilderness areas are life giving in a fundamental sense, nourishing the core of our being. This core of our being is sometimes called the soul.
Life in us wants to be enhanced and nourished. Hence we want to be in the company of forms that breathe life. It is therefore, very important to dwell in surroundings in which there are forms that can breathe: mountains, wooden beams, totems, seaside, wooden paintings and many more.
However, to keep that circulation of wooden materials in an organic way, my art is very often made out of found wooden elements that later I try to bring to its new state of life.
אֱמוּנָה אשאבפלֶת "THE OTHER RELIGION" 2016
"The Other Religion" 2016, consists of two major parts. It starts with the brief description of the author herself and the relationship to אֱמוּנָהאשאבפלֶת (“The Other Religion”). Eventually, an imaginary (“flex-documentary”) script follows after consisting of bizarre/non-existent instructions on how to build a “Wind Organ House”, historical facts about perfect society for perfect people or invented philosophical ideology named פֶּרַח (“Flower”) with written guideline on how to become a plant of your own choice. The second part of the thesis plays supportive theoretical role. It is focused on the paganism in Lithuania (XIV c.) and Nigerian Igbo religion (XIX c. It explains how forced christianisation tripped up the development of the cultural identity.
2017 - Solo Exhibition, Siauliai, Lithuania
2016 - 'Jagged", Gallery Sanaa, Utrecht, Netherlands
2016 – Graduation Festival 2016 / Royal Academy of Art, The Hague, Netherlands
2016 – AS CLOSE TO BLACK AS BLUE CAN BE / Mega Stores, The Hague, Netherlands
2015 – MORE THAN ELEVEN LESS THAN THIRTEEN / Academie Minerva, Groningen, Netherlands