Photography

From 2015, lecturer at Vilnius Academy of Arts, Graphic Art department.
In my artistic practice I do explore the relationship between the individual and the territory, the finiteness and fragility of space and time parameters, human influence on the physical changes of the environment, the “levitation” of the concept of landscape between culture and nature, reality and fiction. Interested in contemporary graphic art, conceptual and interdisciplinary contemporary art, I’m a passionate “art traveler”.

In todays context of the global emergency, after catching myself, monotonously moving on a trajectory of walks without a clear destination, and unsure of the diversity of physical landscapes on future routes, I thought to look back at my one-year-photo collection, constantly spontaneously replenished in the photo album of the smartphone, and decided to generate the extended visual landscape of “my” everyday seen / absorbed environment by using only the content of the photo album. For this purpose, I took each photograph captured in the course of one year, starting from January 1, 2020, cutted about 1% of the image space, and formed a seamless collage from these fragments. Fragmentation of each photo is done manually, without any program code – so I deliberately selected the most non-recurring, instantaneous situation from the moment and put it into one abstract set”.
For MArtelive project I’m presenting a fragment of a work, that is over a 6-meter-long giclee print installed in space. The motive for the creation of such a piece is to look back at the self-formed every day life’s landscapes, stop in time, and discover the new unexpected elements of innovative forms pulsations.

This is a selection of my work which I think represents what my focus as a photographer is about. It is an ongoing project, exploration of manhood. We are conditioned about the gender, what is normal, what we are used to see
in media, online/offline, our everyday life. Via my photographs I am bending
the understanding of what we perceive as a gender, which is binary rather than a spectrum. I offer the viewer the benefit of doubt for how we understand gender and ability to re-shape our mind towards it.

I am an architect and architecture photographer, an expat who lives between two countries: Lithuania and the Netherlands. I was lucky enough to be born in a country where I have the liberty to choose, travel, and to have control over my own life decisions.
One of these decisions was continuously broadening my mind and learning from other cultures. This is how I ended up exploring the Netherlands. Here, I met Iris Lamers who is the only resident of one of the most iconic historical buildings in Rotterdam, a former Hulstkamp distillery. Politeness, elegance, deep interest in politics and culture are things that well describe Iris’s attitude to the world. Iris visited many countries, thanks to her flight attendant career that lasted for more than 20 years.
Iris is of the same age as my grandfather, who had an entirely different story of life. Kazimieras Januškevičius is one and only resident of Tartokas village. Born and raised in the Soviet Union, Kazimieras worked as a builder for almost his whole life. In Tartokas, my grandpa spent his life in complete sync with the surrounding nature: he knows every nook and corner of the forest that envelops his small hut.

The work is quiet, yet attentive. Applying a sophisticated and sensitive approach to his photography which unifies a diverse range of subjects.

His long-term project “F(L)IGHT”, on which he has been working for the last five years documenting one of the most euro sceptic towns in the UK. The project could almost be considered an anthropological study – finely touches the subject of migration and the loss of identity, of losing one’s roots, cultural heritage, connections with loved ones.

F(L)IGHT is a personal and thoughtful reflection of the current state of the UK and the EU. Boston is an example of the impact of the reaction against the EU’s rules on freedom of movement and the different communities it effects; the ‘local’ and the ‘migrant’.

In 2004, when countries such as Poland, Lithuania and Latvia joined European Union, Boston became an attractive place for economical migrants to visit due to its well expanded agriculture and food industry.
Boston registered the highest Leave vote in Britain, at 75.6 per cent. It has been dubbed “the capital of Brexit”. But even before the referendum, Boston held a reputation as the UK’s most anti-EU town due to growing tensions about the increasing number of immigrants settling there from “new” EU countries.

There is a tryptic of meanings in the title of the series which offers three perspectives. Flight is my personal perspective and experiences while being away from my home country, fight reflects locals’ point of view and their dissatisfaction with the current situation, and light is a symbol of the hope for those who left their home countries to search for a better tomorrow.

There is an enquiry into a fictitious future world where everything seems (mostly) normal at first glance but something eerie or sinister is lurking just out of sight. She aims to explore the relationship of performance to the natural world, through the futile process of seeking to possess and control, but mostly failing. Often challenging conventions associated with “ritual”, “witchcraft”, “spiritual capitalism”, and our relationship to the materials around us.

In both of these series I am exploring the deteriorating human condition and the ever growing feeling of alienation, the phrase ‘Alien feminism’ swirls around in my head. This is only echoed in the current situation we are watching unfold on the streets of London, with police brutality and the silencing of women. That’s why the phrase ‘Alien feminism’ seems fitting; in our echo chamber we might feel that things are changing but now we see that we are just floating sheets of polyester, hoping to land in fertile soil. Hoping the breeze or blizzard won’t blow us behind enemy lines. When hashtags like #notallmen is the response of too many, then our feminism is still, unfortunately, alien. These series aim to draw attention to the contradiction by juxtaposing the hyper-unnatural polyester fabrics with the mundane lawn grass and clear blue skies. And so we’ll keep searching for liveable lands, hand in hand with the green movements, for nature also identifies as a woman.

Photography is a great pleasure of mine since age of 6, back then I used to play with my parents’ both digital and analog cameras. Since then I have learned digital and analog technologies, participated in various art events and even presented my personal exhibition.

This is a double exposure experimental artwork of mine, made with non-branded roll of film, that I found inside a secondhand point-and-shoot camera at flare market. I did not knew what to expect from the film, because I knew nothing about the previous camera owner. So, I decided to capture my everyday life and after developing it at the lab and scanning by myself I ended up with 39 scans of interesting double exposure frames. I choose to present you photographs that includes human portraits and silhouettes, as a relation between all of them. It allows to contemplate about possible relationships between similar peoples emotions, experiences and life, even if they are separated from my (or you) few decades and hundreds or thousands of kilometers.

A wide range of interests and skills, including writing, video art, 3D, VR, photography, sound, music and animations.

These 7 photos represent the story of me losing a part of my eyesight for a while. It was May 2018. I was editing a TV show when all of a sudden I experienced an unbearable headache and distorted vision. It was a sunny spring day, but my thoughts were clouded by grim suspicions. At the lunch break I lifted my arms sideways and couldn’t see my right arm. I had lost around 15% of my right peripheral vision. Then I went to the hospital for 4 hours. The eye doctor had a bowl of needles near my eye and his nurse watched some ice hockey match. When I arrived home, I took a photo of myself in the mirror. I was diagnosed with a migraine with aura. Not that bad.
The photos are representation of my subjective experience.
I used multiple exposures as the main technique. The first two exposures represent my two eyes. The third and fourth are photographed via the results of my magnetic resonance (head). Black parts represent the lost vision. The bright parts represent the grim suspicions.
The 7th picture is from the original event as well as the document layers.