|
Cloth & Culture NOW
the artists - Laura Pavilonyte, Lithuania
All artists are probably searching in some way or another for
their own character, their own cultural identity and their own
relationship with the surrounding world. I am Lithuanian; I was
born, grew up and now live in Lithuania. Therefore, I probably
don't have a special desire to reflect the identity of my own country
since it enters my work naturally, and this is how it is for the
other themes and ideas born and brought to life in Lithuania.
First of all, I think that Lithuanian folk traditions had an impact
on my perception of aesthetic beauty. In my childhood I slept on
pillows that were traditionally made by my grandmother. During
festive seasons I used to spread hand-woven tablecloths on the
table. This embedded an appreciation and love for rhythmic compositions,
combinations of red and white, as well as other things.
Influences from other cultures stem from
my art history studies. I place special importance on the movements
of Western art in the 20th century –– Dadaism, fluxus and the impact of
these trends upon our understanding of a work of art. I also appreciate
Eastern approaches to art as a way of revealing the reality of
life –– showing that life is rich and changing, sometimes
wonderful and joyful, sometimes ugly and sad, but always interesting
for its complexity and surprises. I agree with Eastern wisdom that
art is tantamount to reality, and not an independent phenomenon
existing on a level higher than nature itself. I also admire such
Eastern aesthetic principles as incompleteness and other principles.
I take everything from other cultures that echoes my understanding
of the world and then transfer them to my work.
Everything that appears in works of art
becomes of substantial importance to me. I do not mark things
with a plus or a minus, do not differentiate them into "good" and "bad" –– I
always hope that everything visualised in my messages is interesting
not only for me, and not only for Lithuanians. The intercultural
context is significant for me. Often my works are interactive –– they
involve the viewers. It is important for me that an artwork is
inviting and helpful in the communication; that is, so that it
can reach a larger and more varied public.
I cannot really judge how and to what
extent our relatively young traditions in textile art (only in
its 7th decade) could influence or could have influenced work
in other countries. Of course, since the broader geographical
movement of people began, a more extensive cultural interchange
has also started. However, Lithuania is not yet so well known
to the international community –– we
are a small country after all.
I have always admired textiles for the variety and originality of
techniques. Most of all I love felting, which I see as an archaic
tradition related to human life and ceremonies from the point of
view of ritual
LITHUANIA
|
