Laima Kreivyte on ‘SECRETS’
‘SECRETS’ is like a transformation of childhood games into the secrets of adults. ‘SECRET’ is a composition of flowers pressed with a piece of glass. It is not the image that matters, it is all about the fact that is a secret.
This secret can only be shared with the best friend. Sharing and (not) keeping the secret created the magic of ‘Secrets’. If you reveal this secret to the stranger’s eyes, you undress yourself and the keeper of this secret. Laisvyde transfers the structure of ‘Secret’ into her photography. The pictures of women are being fragmented and ‘hidden’ under the glass and water. The most vulnerable body parts become dead blossoms that are being pulled out of the dark by the viewer. Secretly seen image is disturbing, but it also opens up the subconscious mechanisms that are best revealed by mythological views.
Upon the entrance to the exhibition, the viewer is turned into stone by the gaze of Medusa. Although the woman pictured in photos are not scaring with snakes on their heads, the viewer is scared by facing things that are usually hidden in public. Uncovered intimacy questions the power
Of sight as the revealed secret is no longer used for blackmail. Objectified female body becomes a source of unknown threats instead of source of pleasure. It becomes an observes and turns viewers into objects. It becomes a mirror to a voyeuristic sight. The head of Medusa is being separated from its body as well as the shield of Athena. No one is protected from a killing look.
Laisvyde Salciute ‘SECRETS’
It is a cycle of photos which focuses on exploring human’s sight as well as tensions and transformations of the relationship it creates. I rethink and emphasize the power of sight, which turns subject into object and vice versa. Water is being used as the main tool of expression (as an ideal symbol of love according to oceanographer J. Y. Cousteau), while I focus on transforming the traditional relation of sight’s power. I observe as the sight, perspective of a photographer-man represents the woman’s body, constructs/deconstructs it and makes it a play space for his phantasies.
When I am taking photos, I rethink the subject itself is being observed from both sides. It kind of loses the advantage of power and turns into object.
Individualios priešistorės (2013)
Tapybos darbų cikle Individualios priešistorės man buvo svarbus tekstas. Tie darbai yra savotiškas rašymo paišymas.
Kurdama apmąsčiau „pirmapradę“ poetinės kalbos patirtį, kaip jėgą, galinčią sukurti asociacijas ir įvykius, kuriuos ta kalba nusako, t.y. individualias priešistores ir individualias istorijas.
Šiuose darbuose gilinausi į žvilgsnio kaip tam tikro veiksmo problematiką, nes jis irgi yra jėga, reikalaujanti atsiliepti į į “tave atgręžtą veidą”, (šiuo atveju meno kūrinį ir jame užfiksuotą žvilgsnį) t.y., priimti sprendimą, ankstesnį už patį sprendimą.
Tai darbai atlikti mišria technika ant drobės, kuriuos visus jungia “plonytė raudona linija” kaip nuoroda į tai, kad tai – “tų pačių istorijų ir jų priešistorių fragmentai”. Darbus papildo penkios filosofo A. Mickūno citatos iš knygos Estetika. Menas ir pasaulio patirtis, kurias naudoju kaip nuorodas (arba atvirkščiai – kaip pėdų mėtymą ir klaidinimą) galimoms mano darbų interpretacijoms, tam, kad žiūrovas susikurtų savo subjektyvias “individualias priešistores”
Darbai atlikti mišria technika: akrilas, grafitas, koliažas, dirbtiniai brangakmeniai, drobė.
