Bronė Sofija Gideikaitė, who has tried various original techniques, has been always attracted by the margins of textiles, their wrong side, and their structure.
In her first works, the artist discovered the system of weaving with two sets of warps and by using thermal means to ‘annihilate’ materials, she recreated textile-industrial products; finally, she has started ‘painting’ with textiles. In an attempt to create an impression of impasto painting, she layers and fuses fabrics of different structures and colours. The values of painting as a constant of art and the pictorial as an impression have swapped places. Lightness, softness, transparency and dynamics are contrasted with the material weight of painting and a palpable expression. Imitation as a way to test the authenticity of an adjacent medium of art? Why not? The artist is interested in the experimental model of creativity, yet she does not forget the limitations imposed by the format and conceptualises them. In this case, the artist has chosen quite a small territory that could be contained in the format of a classical knotted Oriental rug. She tries to ‘tie’ formalism characteristic to contemporary textiles (construction, original technique, effect, space, replacements of textile materials and the tactile quality) with a concept. For her 1000 Stories she has chosen silkscreen printing, which has become a priority for the artist; this work has become her calling card.
Synthetics and nature merge in the work based on the overstatement of a specific, taken separately, element of expression, a singular fragment of an authentic carpet and its ‘serial production’. The layout of patterns on the carpet has been divided into segments. In each segment, a certain pattern has been enlarged. As if to confirm the domination of the latter, it has been transferred onto spheres. Among a zillion of patterns, only a few, those most revealing of Oriental symbolism, the most contrasting and emotionally sharp, have been given the spatial shine. The monotony of the carpet’s surface has been broken by the motifs of patterns transferred onto the spheres. The rhythm has acquired form. The mirage has materialised. The artist has masterfully combined apparently contradictory things: the absolute, undisputable classics and a textural puzzle, exotics and meditative pop culture, hedonist associations and square meters of a contemporary paradise. A tradition that has been turned into a 3D shape is not only more intriguing, but also seems to acquire sound and fragrance. Especially, when the artist curls inside her own installation and suggests the viewer to do the same. A desacralisation of the work of art? Or, perhaps, on the contrary: a ritualization of the creative process?
This work by Bronė Sofija Gideikaitė is really worth of a thousand stories…
It is about serialised beauty, its adaptation and imitation, i.e. about things accessible and understandable to all members of the society. Light kitsch becomes equivalent to the layering of cultures; an effective visual language, to conception, a fragment, to the whole, aesthetics, to functionality. The beginning. A point in space. A pixel. An enlarged knot of the carpet turns into a ball. The relationship between ornamental surfaces and voluminous objects turns into a room, a gallery, any intimate or public space. The hyperbolization of a single essential structural element allows her to develop a spatial structure up to infinity towards the x y z directions. The chosen silkscreen technique grants a communicational space to this installation. This work can be copied; it can be touched; it can be entered…
And Beauty becomes accessible to everyone. And everybody has a right to say a thousand times:
Beauty to create and Beauty to recreate;
Beauty to destroy and Beauty to synthesize;
Beauty to reflect and Beauty to inform;
Beauty to escape into experimentation and Beauty to freeze in tradition;
Beauty always has two sides: the existing one and the one that still has to be created.
And what side are you on?