art 2004/2


Witold Kałinski (Lenkija). Walk with Sleepwalker. 2004, linoraižinys, 19x26

Witold Kałinski (Lenkija). Thrusday. 2004, linoraižinys, 18x26

Irma Balakauskaitė. Saulius. 2004, poliesterio raižinys, 18x22

Lida Dubauskienė. Kalba I. 2002–2003, ofortas, polimeras, 13x14

Inga Dargužytė. Be pavadinimo. 2002, linoraižinys, 8x17

Peter Velikov (Bulgarija). Be pavadinimo. 2004, ofortas, akvatinta, 15x18,9

Yuko Hama (Japonija). Soliloguy.  2003, ofortas, akvarelė, 19x27

Haruko Cho (Japonija). B-cushion Cherry-1m. 2004, šilkografija, 22x30

Kelii Valk (Estija). Come! 2004, mišri technika, 16x23

Tiny Weil (Argentina). Autobiografija I. 2004, mišri technika, 30x12,5

Three Viewpoints on Small Graphic Art

by Ieva Pleikienė

Aware of the persistent division in views on graphic art, between artists, on the one hand, and art critics, on the other, the art critic Ieva Pleikienė invited two graphic artists Arvydas Každailis and Mikalojus Povilas Vilutis, to discuss the small graphic art triennial Vilnius’2004. The triennial represented an array of countries and regions (Japan, South America, Asia, as well as Poland, and Belarus) wide enough to glimpse differences and commonalities in the concepts and aspirations of graphic art. According to Arvydas Každailis, the event offered plentiful evidence that graphic art preserved the diversity and complexity of its vocabulary. Even today, prints continue sending quiet messages to the viewer and inviting to establish an emotional contact. Another pleasant aspect revealed by the exhibition, is the obvious achievement of Lithuanian graphic artists. Mikalojus Vilutis noted the authenticity of the work by most participants. They are the artists who refuse to surrender to the dominant contemporary tastes. Ieva Pleikienė identified small graphic art through such parameters as scale and detail, as well as experimentation in techniques. Small graphic art sends a multifarious message, which can be playful as well as serious. Small scale offers advantageous opportunities to any type of experiment. Three trends are possible to identify in small graphic art of today, to be appreciated by their own specific criteria. Graphic artists of the jewellery trend exploit sophisticated multi-association and multi-detail narratives. Favoured by them imaginative plots are usually rendered in graceful drawing, and their quality is virtuosic. The second group is mostly devoted to the recording of detail and to exploring natural objects. The third group, ‘experimenters’, employ traditional graphic art techniques to an unexpected effect, in other cases, they apply novel methods questioning the boundaries of the graphic art. Arvydas Každailis welcomes the artists who started reintroducing the human image into their prints. It is high time Lithuanian graphic art offered some image of the contemporary man, according to the artist. In general, the principle of novelty and spontaneity should not override professionalism in representation of one’s subject, especially, the human body. Although the role of emotional impact in art appreciation has been dwarfed by rampant mass culture, Mikalojus Vilutis has expresses his belief that music, literature and fine arts are sure to retain their metaphysical attraction.