X YPP Book

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• What can you tell us about your creative process? Where does your artwork start
and where does it end?
I only start painting when I know what I am trying to find out. I am not
interested in painting just for the sake of it. A certain situation always comes first
— for example, that of a taxidermic bird, or a that of a playful accident — which I
then extrapolate through painting. Not all attempts are successful, but the
excitement that comes with the research is the biggest payoff. I would even claim
that I prioritise the subject — in this case, a play — over painting itself.
• Have you ever seriously doubted your choice to become an artist? (If so, what
stopped/reassured you?)
Yes I had. After finishing my BA, I no longer had my studio (I now realise how
important having a studio is) and gradually started working. It is not easy for
painters to survive, having to rent both a flat and a studio can be really
challenging for most of the artists. Then I also had to raise my own kids. I was
hoping that working from home will allow me to find time for art, but it never
happened. The wakeup call came when I was offered an office job. I suddenly
realised that I will never be able to create if I start working from nine to five, so
I refused this ‘promising’ job offer.
Then things started changing rather quickly. Without a day job and with my kids
in the kindergarten, I suddenly had more time. As soon as sporadic painting
commissions started bringing me some income, I immediately rented a studio in
Naujoji Vilnia. It was the autumn of 2009. It took me two months to set up a
studio and get to work. Then my work was delayed further by the winter colds
and my kids getting sick. It was only in 2010 when I started to paint seriously. In
fact, I was awarded a second place in the YPP awards the very same year. So the
skills can return in no time, all you need is an idea what you want to do.
• Do you find the Baltic art scene interesting? (What is your opinion about
Lithuanian, Latvian and Estonian art? How would you describe their differences?)
I did not know much about Latvian painting, I acquired an album only recently. I
have stronger connection with Estonian artists because, during my studies,
Vilnius Academy of Art had strong ties with the Tallinn Academy of Art.
I had a chance to meet their art teachers and students, and we even organised a
group exhibition ‘Notes on Painting’ in Vaal Gallery, Tallinn. During my MA
studies I did an artist residency in Estonia. It was interesting to work there
because Estonian painting was different from Lithuanian—it was clear, rational,
even pedantic. I was fascinated by it because it was so different from VAA which
worked more in the tradition of the Ars Group. Today we even have Lithuanian
painters influenced by the ‘Estonian style’—for example, Jonas Jurcikas.
• How did the Young Painter Award influence your artist’s career?
It made a big difference. It happened right after I returned on the path of being
a painter, and this Award was a great incentive to keep going and stay on track.
I was noticed by the MO Museum, and they bought some of my works. I must
admit that the monetary prize was important as well because it took care of my
studio rent for the next four years. The residency in Vienna allowed me to see
myself in a wider context, and I also had a chance to see a lot of contemporary
and classical art.