Perdarant sovietmečio pano. Meninis tyrimas

LTŠiame straipsnyje tiriamas keraminių pano kūrybos procesas. Išanalizavus įvairius tekstus apie Lietuvos sovietinio laikotarpio pano, sukuriamos molinės plokštelės, kurios galėtų būti vienos iš sovietmečio kūrinių detalių. Dirbant perimta ir interpretuota sieninių plokščių lipdymo tradicija. Apžvelgiami LSSR valstybinio dailės instituto studentų tiriamieji darbai, pristatantys nepublikuotus sovietmečio pano. Tyrimas yra dviejų dalių: pateikiama istorinė medžiaga ir jos meninės interpretacijos. [Iš leidinio]

ENThe aim of this artistic research is to explore ceramic panels created in Lithuania in the Soviet period by artistic means. The research is based on the material related to ceramic panels created in the late Soviet period, approximately from 1974 to 1987, which was collected by the students of the State Art Institute of the Lithuanian SSR between 1986 and 1989. The material sheds light on works that were created in Kaunas, Vilnius and Alytus, and currently are for a large part demolished. While restoring and newly creating an independent artwork, the authors are looking for the means to reveal the reality of that time and to discover the inner motivation – why and how ceramic artists created monumental works at that time, what circumstances they took into consideration, and what they found most important: the topic, the media, light, colour, and texture. While creating works based on description, the authors hope to receive an answer if non-verbal knowledge is possible in ceramics. In order to test this hypothesis that arose during the research, the authors decided to do a practical experiment. The two artists, Rokas Dovydėnas and Remigijus Sederevičius, set themselves a task to restore a clay panel based on a description of creating a Soviet panel. With the aim to place emphasis on the tactile experience of the work, they decided to work blindly. The experiment in the studio revealed that the role of the body is highly important. Direct work with clay has a huge importance for acquiring experience, and there are certain actions that only the body can perform. Facing a new experience, earlier skills are undoubtedly important. While working with the hands, each movement becomes newly acquired knowledge. A result of the artist’s work – in this case, a ceramic plaque – is both an artwork, data obtained during the research, and part of the articulation.The presented result – the research – becomes the visible part, and the experiential part of research remains in the body memory of the researcher. One can make a conclusion that it is difficult to analyze creative work exclusively by description, as the practical research was conducted blindly. The control over the body and material achieved during the process obviously shows that sharing practical knowledge is possible even if it is poorly communicated, and the achieved result can be visually similar. This research experience can be applied for educational aims, by repeating actions that can build working skills. While realizing the entire course of the work and foreseeing the actions, a ceramic artist can achieve impressive results, which are predictable rather than random. [From the publication]