Sniego gniūžtė: krepšinis ir tapyba

LTPasitelkdama savirefleksijos metodą nagrinėju tapybos darbo procesą – vieno kūrinio sukūrimą. Tapydama krepšinio salėje perimu aplinkos taisykles. Krepšinio motyvai atsiranda ne tik tapybos darbe, bet ir tekste. Šalia prisiminimų, apmąstymų įterpiu kitų autorių (kitų spalvų) citatas, tai tarsi literatūrinio trenerio komentarai, o gal žemės, žolės ar kultūriniai likučiai, kurie vis įsipina į ridenamą kūrybinį sniego kamuolį. Tekstas iliustruotas nuotraukomis, taip parodomas tapybos procesas, kuris nuolatos buvo fiksuojamas telefonu. Šiame tekste galima matyti dvi tyrimo linijas: viena yra vaizdinė, o kita – tekstinė, tuo pat metu viskas persipina į vieną bendrą kūrinį, kurį vadinu sniego kamuoliu.

ENWith the help of the method of self-reflection I analyse the painting process – the creation of a work. While painting in a basketball gym, I adopt the rules of the environment. Basketball motifs appear not only in the painting, but also in the text. In addition to memories and reflections, I insert quotes by other authors ( other colours), which are a kind of commentaries of a literary coach, or perhaps the remains of earth, grass or cultural layers, which get entangled into the creative snowball that is being rolled. In the present text two lines of research – visual and textual – can be seen, and at the same time everything is blended together into a single work, which I call a snowball. The inner workings of painting are reminiscent of a snowflake turning into a huge snowball. In the painting process the idea of a work slowly, layer after layer, turns into a painting. The painting process becomes important, as it contains in itself all aspects of the word painting (Lithuanian tapymas – painting, tapsmas – becoming). Along with each painted work something changes in the painter himself or herself, and a clean canvas, just like a blank page, obliges to embark on new pursuits or new research. Painting pursuits get deeply imprinted in memory until they are finally used in one or another situation, one or another work.I constantly record the changes on my mobile phone, as in this way it is easier to remember certain stages of the work, my sensations or creative decisions that have been taken. However, unlike the text, painting does not allow you to go back. Along with constant changes and a search for the most suitable form to express the given idea, excellent paintings sometimes get hidden under layers of paint. However, it is impossible to go back to the previous stage of work – it equals a reconstruction of past events. The entire charge of a painting is concentrated on its surface but, unlike the creative process, its reading is momentary. The perception of the work takes place through each viewer’s play of thought. The painter reveals the space and objects that are not there – it is a mere painting illusion, a game created by the painter. It is up to the viewer to believe or not to believe in this game, to play or not to play it.