2000 Felt, Gallery " Vartai", Vilnius, Lithuania;
1999 "Soft- Hard", " Naujieji Skliautai "
1998 "About Woman". Pilies str., Vilnius;
1998 "New Space" exhibition, Kedainiai, Lithuania;
1998 "African's Snow", "Lietuvos Aidas" Gallery,
1997 "One Three" instaliation, Gedimino str., Vilnius;
1997 "Flight" painting, "Ledaine" City Cafe
1999 "Mirror", TDG Gallery
1999 "Identification", Vilnius city public transport;
1999 10 years of textile miniatures, Gallery "TDG",
1999 International textile exhibition "Line", M. Zilinskas
Gallery, Kaunas, Lithuania;
1999 Art exhibition LDS gallery, Vilnius;
1998-1999 Christmas miniatiures exhibition, Gallery " Vartai
1998 "Unchained Things", Contemporary Art Centre, Vilnius;
1998 "Erotic: sign, shape", Gallery "Vartai",
1998 International Felt Symposium 98, Felt Factory, Anyksciai,
1998 International Felt Symposium 98, "Akademija" Gallery,
1998 International Felt Symposium 98, Panevezys Art Gallery,
1997 Dedicate for National Independent Day, Gallery "Akademija",
1997 Textile works of art academy students, Panevezys Art Gallery;
1996 Dedicate for St. Valentine day, Gallery "Akademija",
1996 "Fiiber" Textile seminar and workshop Tallinn
- Muhu, Estonia;
1996 "Taikomoji Daile 96" (Applied art 96), Contemporary
ART Centre, Vilnius;
1995 SMD, Students Art Day Vilnius Art Academy;
1995 "Soft Form", Contemporary Art Centre, Vilnius;
1994 "Linen Way ", Gallery "Arka", Vilnius;
1994 Lithuanian and Scottish mini textile exhibition Edinburg,
1994 SMD, Students Art Day, Vilnius Art Academy.
of Culture the grand four young artist 2000;
1999 laureate diploma ( International Textile exhibition, M.
Zilinskas gallery Kaunas)
of creative work
of a young artist Karina represent original, polyhedral works of modern
ART. They may be observed at a number of exciting aspects: as a unique
application of the rare ancient felt technology, archetypal symbolism
studies, as well as a portrayal of a man and woman's image in the modern
ART, and finally, as interpretation of modern textile installation -
we could find even more attractive discourses opening before a professional
and ordinary spectator. The artist's strength lies in the very multilingualism
coded in the artistic images. The early modernism has already revealed
two principal tendencies of the artistic image formation characteristic
to the 20th century: analytic and synthetic - the first one as if disassembling,
"paring" the reality and its semantics into separate emphasized
fragments, whereas the other, on the contrary, gathering all the fragments
into a bucket expressed by a generalized (in most cases, extremely simple,
almost elementary) image. Karina chooses the latter, more complicated
mode. Unrestrained, suitable for various exposition textile planes,
reminding of "portable" paintings of modern art (allusion
to the "nomadic" nature of the felt), are physically and meaningfully
"warmed up" by unsophisticated but extremely textile felt
material. Rebirth of "forgotten", existing for many age materials
and techniques in the modern textile is of the same significance and
urgency as the most innovative futuristic experiments. Especially, as
the artist operates with the felt in an extremely captivating way -
the most suitable word would be to say that she is painting in it. Linkup
with the painting, when analyzing Karina's works, is not accidental
for certain, developed images remind of a path walked by the visual
iconography in the modern painting: from hedonistic A. Matisse's outlook
to drastic I. Kleine's "Anthropometry". Under an ingenious
exposition (in particular, in public, city environment) another - ironic
- section of the mark symbolism characteristic to modern times - would
manifest itself in Karina's compositions.
Felt produce directly
from the compression of fibres and do not involve any weawing or twining.
Felt is a fabric formed by applying pressure to hot, wet fibres (usually
wool); the fibre scales become interlocked, and the process cannot be
reversed. It is one of the earliest forms of textile and is known in
many parts of the world, though it has been particularly important in
the Middle East and Central Asia, where it is still made.
The Pazyryk burial mounds in the Central Asian steppes, wich date to
the fifth century BC, contained two fine felt rugs and several fragments.
Since these show a highly developed technology and great diversity of
design and technique, it is reasonable to assume that the origns of
felt probably go back much further.
Indeed, Mellaart suggested that that felt was known to the Neolithic
people of Catal Huyuk (c.5800-5700 BC) on the evidence of textile- type
patterns on wall- paintings at the site and the identification of actual
felt among the grave finds (Mellaart 1966b, p.180). Literary references
to the use felt in China go back to the third century BC, and felt objects
are also included among the eight- century AD textiles conserved in
the Shoso-in Repository in Nara, Japan.
Although not specially prized for its aesthetic qualities and not really
flexible enough for general use as clothing, felt's ability to stretch
and mould, and its excellent insulating qualities, have made it particularly
suitable for saddlecovers, rugs, blankets, hats, footwear, water proof
cloaks and coats, and tent-like structures known as yurts, in areas
of extreme cold.The technique was also widely used in the hatting industry
in wetern Europe.
felt, wool is first carded on large comb with two rows of fine metal
teeth to make it fluffy and porous. Then the wool is spread out on a
mat or old piece of felt
and sprinkled with a mixture of very hot water and solid or liquid soap,
before being rolled up tightly and rolled back and forth under pressure,
or threaded with bare feet, to compress the wool. The whole process
is repeated several times. Finally, the finished felt is rubbed smooth
with a wooden roller or a polished, flat stone. In Europe carding machines
and felt presses replaced the hand methods during the nineteenth century.
I am using these bouth felt making
ways: hand making and carding machines, sometimes mix them together.
It's called own technique.
( from "5000 years of Textiles",
edited by Jennifer Harris '1993)