Opening of the Knot | solo show | Boundary Space | Fall 2021
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Trawling for Requirements
blind net embossing on Rives BFK, silkscreen, charcoal, pen and ink
88x104 inches
2019 -
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Untitled
Multi color risograph print cut-outs, wall installation
2021 -
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Opening of the Knot
blind net embossing on Rives BFK, charcoal, graphite transfer, pen and ink
76x118 inches
2021 -
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How to Untie a Knot in String
blind net embossing on Rives BFK, charcoal, graphite, pen and ink
44x60 inches
2021 -
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Opening of The Knot / solo exhibition / Boundary Space / Chicago / 2021
For centuries, traditional fabrics have held great importance in festivities, rituals and adornment of home interiors for Lithuanian people. Folk art inspired by nature has always been the source for creating and interpreting these ornamentations. I am interested the patterns used in these fabrics and how they act as another form of historical and visual vocabulary not only between different Lithuanian regions but as a reflection on shared human nature that attempts to interpret the world and natural phenomena around us. In the process of weaving a certain trust is placed in the knot itself - it joins and secures the two threads together, allowing a weaver to continue weaving.
In my practice, I relate very strongly to the repetitive action of the weaving as I engage in my own repetitive actions such as printing, cutting, gluing, collaging and weaving the paper. Through this repetition, an array of patterns on a wall comprised of risograph-printed-cut-outs of my body act as individual fibers. By juxtaposing patterns against large scale prints and drawings, I explore a multitude of ideas related to the word "knot" and its various meanings, including but not limited to: one or more flexible bodies forming a lump or a knob, the sense of constriction, a bond of union, a cluster of persons or things, an ornamental bow or ribbon, something hard to solve, one nautical mile per hour, a closed curve in a three-dimensional space.
* Images by Tom Van Eynde
For centuries, traditional fabrics have held great importance in festivities, rituals and adornment of home interiors for Lithuanian people. Folk art inspired by nature has always been the source for creating and interpreting these ornamentations. I am interested the patterns used in these fabrics and how they act as another form of historical and visual vocabulary not only between different Lithuanian regions but as a reflection on shared human nature that attempts to interpret the world and natural phenomena around us. In the process of weaving a certain trust is placed in the knot itself - it joins and secures the two threads together, allowing a weaver to continue weaving.
In my practice, I relate very strongly to the repetitive action of the weaving as I engage in my own repetitive actions such as printing, cutting, gluing, collaging and weaving the paper. Through this repetition, an array of patterns on a wall comprised of risograph-printed-cut-outs of my body act as individual fibers. By juxtaposing patterns against large scale prints and drawings, I explore a multitude of ideas related to the word "knot" and its various meanings, including but not limited to: one or more flexible bodies forming a lump or a knob, the sense of constriction, a bond of union, a cluster of persons or things, an ornamental bow or ribbon, something hard to solve, one nautical mile per hour, a closed curve in a three-dimensional space.
* Images by Tom Van Eynde