art 2001/2

Jonas Arčikauskas. Đeđëlio kostiumo eskizas O.Milađiaus pjesei „Migelis Manjara“.
Lietuvos valstybinis dramos teatras, Vilnius. 1996

Jonas Arčikauskas. Scenografija ir kostiumai A.Srtinbergo pjesei „Sapnas“.
Lietuvos valstybinis dramos teatras, Vilnius. 1995

Jonas Arčikauskas. Đvilpis Totemas. Đamotas, medis, molio glazűra,
6 x 21 x 12, 1000 oC. 1994

Jonas Arčikauskas. Đvilpis Paukđtukas 32.
Angliđkas molis, glazűra, kava,
10 x 10 x 29, 1000 oC. 1994

Jonas Arčikauskas: Between Boundaries and Freedom

by Raimonda Đirvinskienë

Two forces compete for the favour of the artist Jonas Arčikauskas: the masculine and reticent god of clay tempered by fire, and the unbridled, mannerist and pompous demon of theatre. Electrified by these two elements, the artist expresses these contradicting origins in his work in different ways. He gives vent to his passionate rebellious nature in the vibrant space of the theatre, and his rational ponderous nature is revealed when the artist works alone with fire and earth. While studying at the Art Institute in Vilnius (1980–85) he constantly had to choose between ceramics and theatre. Having graduated from the Art Institute (the Chair of Ceramics), he was invited to work in the Kaunas Drama Theatre as a set designer (1985). However, the artist did not remain indifferent to clay – since 1984 he participates in exhibitions, since 1990 is a member of the group “Angis”, and in the same year he began to teach in the Chair of Ceramics of the Vilnius Art Academy. He created the set design for the performances “The River” (1989), “The City-Stick” (1992), “Love’s Labour Lost” (1996), “A Doll’s House” (1996), “The Seagull” (2001), “Andre Chenier” (1999), “Salome” (1997), “Golgotha”, “A Dream” (1995) “The Marriage of Figaro”, 1999 “Jean d’Arc on a Fire” (1998), “A Christmas Tree at the Ivanovs’” (Stockholm, 1997) and others.