I return to repetition in my painting as a way of testing the image - pushing it beyond stillness. By placing similar or identical elements side by side, I create a subtle vibration, a tension that keeps the image in motion. I am less interested in capturing a fixed moment than in holding it open, allowing it to unfold as a process. I build my works as fields of painterly marks, where each brushstroke carries a distinct direction, weight, and intensity. Moving through these structures, the viewer’s gaze follows recurring forms until something begins to surface. I often work with the motif of the portrait, or fragments of it, letting it shift, repeat, and overlap - never fully settling into a single, stable image. References to Christian tradition enter my work as fragments of memory: something inherited, internalized, and reinterpreted rather than illustrated. What matters to me is the tension between the hand and the system. The irregularity of a painted gesture resists the logic of mechanical reproduction, yet at times seems to approach it. In this unstable space between control and chance, touch and precision, repetition becomes a way to register difference - to insist on the uniqueness of each mark, even when it appears the same. I keep returning to the question of authenticity. I am interested in how easily an image can shift between being original and being a copy, between belief and its imitation. These states do not cancel each other out but coexist, reflecting a condition in which reality and its representation are increasingly difficult to separate. My work is also shaped by an awareness of the present—geopolitical tension, migration, and the gradual erosion of stable living conditions. These concerns do not appear as direct narratives, but as underlying structures: fragmented, unsettled, and in flux. I work with large-scale oil painting on linen, where the material density of paint confronts the viewer physically. The image is not something to be observed at a distance—it is something to be entered, negotiated, and endured.

 

I am an artist (b. 1982) based in Vilnius, Lithuania. Also work as Associate Professor in Vilnius Art Academy Kaunas Faculty Painting Department. I studied painting at the Vilnius Academy of Arts (BA, MA) and participated in an Erasmus exchange at Miguel Hernández University in Spain. My work has been presented in exhibitions across Europe and internationally, including at MO Museum, Vilnius; M. K. Čiurlionis National Museum of Art, Kaunas; Lewben Art Foundation, Vilnius; Espace Commines, Paris; Andreas Binder Gallery, Munich; Rivellino Gallery, Locarno; and Xin Dong Cheng Space for Contemporary Art, Beijing. Selected solo exhibitions include Kūlverstis liečiant ir neliečiant (KKKC, Klaipėda, 2023), Autoperspektyva (The Rooster Gallery, Vilnius, 2022), The Trace of the Glorious Stroke (The Rooster Gallery, Vilnius, 2022), Stories from Before (The Rooster Gallery, Vilnius, 2020), Strichwelt (Andreas Binder Gallery, Munich, 2019), and Three Brushstrokes (Xin Dong Cheng Space for Contemporary Art, Beijing, 2018). Selected group exhibitions include Der Funke Gottes (Diözesanmuseum, Bamberg, 2019), All Art Is About Us (MO Museum, Vilnius, 2018), and Le Loup de Fer (Espace Commines, Paris, 2023). I am a recipient of the Young Painter Prize (2009) and the Young Creator Award from the Ministry of Culture of Lithuania (2011). In 2018–2019, I received a grant from the Free State of Bavaria and completed a residency at the Internationales Künstlerhaus Villa Concordia in Bamberg, Germany. My works are held in the collections of the National Gallery of Art, MO Museum, and Lewben Art Foundation in Vilnius, as well as in the Ole Faarup Collection, Europe Central Bank Art collection, Zuzeum in Riga and in All Saints’ Church in Vilnius and the Church of Mary in Elektrėnai, alongside private collections in Lithuania and abroad.

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- National gallery of art

- Lewben Art Foundation

- Mo museum

- The Rooster gallery

- Andreas Binder gallery

- Lithuanian Culture Institute

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