Karina MATIUKIENĖ


© Baltic ART Network
ART-BANK
ART LITHUANIA



Personal exhibitions


2000 Felt, Gallery " Vartai", Vilnius, Lithuania;
1999 "Soft- Hard", " Naujieji Skliautai " Gallery, Vilnius;
1998 "About Woman". Pilies str., Vilnius;
1998 "New Space" exhibition, Kedainiai, Lithuania;
1998 "African's Snow", "Lietuvos Aidas" Gallery, Vilnius;
1997 "One Three" instaliation, Gedimino str., Vilnius;
1997 "Flight" painting, "Ledaine" City Cafe Gallery, Vilnius

Group exhibitions

1999 "Mirror", TDG Gallery
1999 "Identification", Vilnius city public transport;
1999 10 years of textile miniatures, Gallery "TDG", Vilnius;
1999 International textile exhibition "Line", M. Zilinskas Gallery, Kaunas, Lithuania;
1999 Art exhibition LDS gallery, Vilnius;
1998-1999 Christmas miniatiures exhibition, Gallery " Vartai ", Vilnius;
1998 "Unchained Things", Contemporary Art Centre, Vilnius;
1998 "Erotic: sign, shape", Gallery "Vartai", Vilnius ;
1998 International Felt Symposium 98, Felt Factory, Anyksciai, Lithuania;
1998 International Felt Symposium 98, "Akademija" Gallery, Vilnius;
1998 International Felt Symposium 98, Panevezys Art Gallery, Lithuania;
1997 Dedicate for National Independent Day, Gallery "Akademija", Vilnius;
1997 Textile works of art academy students, Panevezys Art Gallery;
1996 Dedicate for St. Valentine day, Gallery "Akademija", Vilnius;
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, Scotland;
1994 SMD, Students Art Day, Vilnius Art Academy.

Public commissions

Lithuanian Ministry of Culture the grand four young artist 2000;
1999 laureate diploma ( International Textile exhibition, M. Zilinskas gallery Kaunas)

Sketch of creative work

Textile works 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.

Abou felt technology

Felt produce directly from the compression of fibres and do not involve any weawing or twining.

FELT
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.
To make 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)