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Cloth & Culture NOW
the artists - Lina Jonike, Lithuania
The significance of the Lithuanian culture in my work
I think Lithuanian culture has a lot of importance for me because
it bred me as an artist. I would say that my previous interest
in Lithuanian folk costumes and bedspreads plays an important
role. A sense of the textile stratum is probably encoded in my
genes – one of my grandmothers was a weaver, the other
did patchworks, and my mother worked in a textiles factory. A
lot of textile things surrounded me throughout my early childhood.
I grew up at the time when Lithuania was part of the Soviet Union.
During that time, it was vitally important for my nation to maintain
its national identity and my parents indoctrinated strong national
feelings in me.
How this culture is expressed in my work?
The majority of the ideas for my work are taken from Lithuanian
folk art: the diptych „Rupintojelis I-II“ [The Pensive
Christ I-II] (2002-2003) is a feminine comment on religious wooden
folk-art sculptures expressed in textiles; „Trikampis“ [The
Triangle] (2005) is an interpretation of part of a folk costume,
the „nuometas“ [a kind of special head covering previously
worn by married women]. In some of my works I use the ornaments
from Lithuanian folk costumes „Mano kunas-mano namas“ [My
body – My house] (1995). The installation „Venera“ [The
Venus] (1996) comments on post-war urban fashion. In the triptych „LIE-TU-VA“ [Lithuania],
I embroidered my approach to national identity upon the colours
of the Lithuanian flag – I believe that the roots of national
identity come from the family. At present, I pay a lot of attention
to an example of folk architecture that is becoming endangered
(the ice-cream cafe).
Have you been influenced by other cultures?
Yes. The cultural heritage of other countries (architecture, paintings,
ornamentation) has penetrated my sub-conscious one or another way
whether I like it or not. Other areas and things I select intentionally.
In some of my artworks I have used "quotations" of ornamentation
from various parts of Western Europe. For example, in the embroidery "Arnotas" [The
Vestments] (1996) I embroidered a photograph of a naked man
with the vineyard ornaments with their sacral significance. I found
this design in a Lithuanian museum on 16th century church vestments
from Italy. In some works I have used Greek mythology. For example,
in my work "Sirenos" [Sirens] (2000) I used copies of
my own picture and, while making the embroidery, I created an interpretation
of a myth that is already several thousand years old.
Do you understand the influence of other cultures as positive
or negative?
The influence of other cultures on such a small country as Lithuania
is not good. However, it is an inevitable process. For me, art
should have no limits, and I usually choose cultural episodes from
my own country because they are "closer to the body",
like textiles themselves. This is a peculiarity of Lithuanian culture
as I see it.
Do you see Lithuanian textiles influencing the textiles
of other countries?
Lithuanian textiles are not only exhibited in the best international
exhibitions, they are also introduced in academic communities and
to students at the international level (in Germany, Italy, Australia).
I once spoke with a German artist who had created a new work inspired
by an exhibition in Berlin "New Textiles from Lithuania" (at
the Körnerpark Gallery) in 2005.
Is historical experience important for you or not?
I think so. That is why I embroider materials in a realistic manner,
transfer the ornamentation and always try to make work that consists
of at least 50% textile materials.
LITHUANIA
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