J. Dieliaustas “Poetry and painting”

ISSUE 04

EXHIBITION

POETRY AND PAINTING

Anima Mundi Academia Jurgis Dieliautas

An event dedicated to the interaction of poetry and painting took place in the AMA Migrating Gallery (2022, February) (Siauliai). The pretext for this event is the creative collaboration of the painter Ina Budryte and the poet Solveiga Masteikaite, the smooth and correct ingenuity of their work, the improvised ability of these two creators to complement each other orally and visually. This is how a creative or reproducing, drawing, casting, becoming, appealing, and improvising relationship meets as well as the worded, imagined meetings develop. The creative word appeals to the creative image and vice versa, the self-creating image accepts comments. The rhetoric of narration and representation turns into the rhetoric of exclamations, flashes, visions, and remarks. Verbal rhetoric responds, becomes a response to visual rhetoric. Poetry and painting are currently a creative response to the rhetoric of the spectacle. In the course of the event, in the open discussion, in the commentary of one’s work, in answering the questions of the participants, some important things were clarified. The word is heard as the primary word, the image of the drawing is visible, it is the primary relationship, the primary “For fallen cats “ , paper, gouache, Ina Budryte (Lithuania), Title: © charcoal, 56 x 41 cm, 2008

opening of the reality of the drawing. Both authors correct and problematize the openness and experience of creation, offer to look for creativity in everyday life on aquariums, in stark eye, everyday verbal or visual fragments. Painting in its original style, the primary premise goes like poetry to the encounter with the world. Both rhetorical textures raise questions about creative perception and primary perception. Perception is then a complex trap, visual or verbal trap. A network of colors or sound captures and obstructs, captures certain intonations. Caught intonations are sometimes caught strings or threads. They begin to spread their visual and visualizing, often migrating sounds. In the author’s sense, otherness, alienation in itself, change and otherness in oneself are also hindered. Somewhere in myself I am different, different, unknown to myself. A creative verbal or such a color breakthrough, it is the appearance of texture, it is an obstacle, a barrier, a firewall. The poetic word responds to the spoken, consumed, usurped, deformed screensavers. A different, alternative, situational grasp is needed. In the field of creative action and creative interpretation, the grasp turns into a lintel or support, a defined frame or field of activity. The primary relationship between poetry and painting is a creative posture. She leaves, suddenly taking herself further beyond any formalities. The fast and incoherent language of the media, endless fragments or paraphrases, sluggish corrections, stagnant repetitions, duplicate replicas, are all works of poetry, but all this is at the same time an extensive work of painting. The drawing defines, bypasses, and at the same time brings the necessary intonation. The word creates exactly the same circle of understanding. Consequently, the necessary differences that have been argued and tried to establish for a long time are not here. Both painting and poetry problematize another important thing, the very existence of sensory language. Sensory language, a potential language seeking its ultimate articulation, a vibrating and flickering language, is not brought directly into universal language. There is no exact translation here, only endless improvisation, at the same time only self-seeking intonation. The same happens with the language of painting, with its utterances. There are threads in the drawing that approach the word threads. Verbal and color ringing look for consonances of everyday expression.

The cycle of Ina Budryte’s works, aptly named “Fallen Cats”, greets us with a mixed painting, immediately turning us into the whirlpool of her pictorial expression in a few different ways. But such a drawing is conditioned by several different visual intentions. Her authorial drawings introduce us to the planes of different controversy. One of those planes is visual controversy, a pictorial discussion with dominant discourses of abstract expression. Here, the author herself uses different techniques to show, demonstrate, and adjust the possibilities of abstract expression. In addition to such, direct pictorial-technological controversy, a different field of controversy is visible here. Another field of pictorial controversy is the aporias of mediative social expression. The confusing, influential, doomed lines of reality damaged by endless development are varied and diverted by the author, directed in completely different directions. Expressive and intense visual narratives, in which the author finds and shows the way in a drawn route. Her drawing route, the strategy of her chosen drawing, is a drawing strategy of interchangeability and acceleration. The strategy of exchange is enshrined here in paraphrases of neurotic density, psychotic exclusion. The density of neurotic routes, the density of obsessive statements, the density of crooked visions are the densities of cartoon life. Following the path of the neurotic line, she unexpectedly presents a slightly different version of popular neurosis in her drawing. In the erroneous intrigues of fear and fear, she finds a line of thought and liberation. In the planes of psychotic expression of the drawing, it takes us to remote places and places of exclusion. A new path of liberation opens up from those contaminated visions, from those distorted fragments, from those masks and grimaces. Our intrusive and naive reality, the visual, expressive confusion of our viscous everyday life, the intrusive visualization that mediates ourselves, the traumatized and stigmatized escort of visions. Such is the power of drawing that leads and does not mislead the power in the conventional confusion of playing games. In the inevitable and only horror-inducing noise of rhetorical separation, eroded, scattered by the scare of communities and comrades, the masquerade of magnifying and zooming out, cracking, cracking hysteria, one or another obscure line is felt everywhere. The development of alignment is not directly understood, not immediately mastered, cracked or flawed, cracked, crushed. The line is dislocated, immersed in excess flows. To find all those lines, to understand it all, it takes a line of influential drawing of a different nature, with a different tempo and a different intonation, a resistant line. Such a support of the line, such a support of it, it overcomes all compositional collapses. A paper drawing, it comments, it treats the variability of the linear world. It accepts and manages intoxicating moments of visual collapse.

Solveiga Masteikaite’s poetry book “Lunch Middle Nowhere” stops and disturbs us, makes us wander in the totality of self-creating fragments, images, and paraphrases. In a smooth and distant creative whole, the author hypocritically and at the same time chronically introduces him to the struggle of words, to the planes of expressiveness and positiveness. On the other hand, such a poetic strategy introduces us to a self-creating half-way, to the half-

ISSUE 04 way of excessive linguistic, persuasive, verbally stopped chic. Poetry leads to different planes of linguistic visions, actions, and mountainous lusts, to intricate environments, to hallucinatory environments. There are many different poetic actions here. But everywhere there is that intense, ironic expression, the most trustworthy. That confessions or openings do not turn into puzzles of sentiments that memories, dreams, visions do not become only protocols. There are attempts to describe the confusion and disorder acoustically and visually. It is an attempt to hear in different ways what is flowing through mediated noise. Common and intertwined situations, when completely different reserves are found within. The reserves found are a poetic, aesthetic excess. It’s just like openings, graceful openings. But basically a completely different situation is seen and heard here. These texts are airtight in the intonation sense. It is necessary to catch and discover the appropriate, nuanced, well-balanced intonation in the utterance. Proper poetic intonation allows you to hear visible, perceptible ambiguity, constant skipping and inconsistency. Many poems are based on a guitar and an improvised poetic inquiry. A set of rhetorical inquiries, a set of poetic questions, and the endless controversy that ensues. Controversy with artificial immersion, conventional statics, with the prerogatives of absurd conventions. When poetic insights are heard that transform that normal well-being, and a new feeling allows you to redefine your being, to find new names in your being. Sometimes these are long, long and patiently repeated names. An attempt is made to recapture the current situation or to catch the situation with a peculiar poetic utterance. The saying turns into a poetic fascination. A paused or cracking saying becomes a frame. Dreams or visions, altered forms of consciousness, ecstatic fragments, it is an increasingly poetic controversy with forced speech, a struggle with a language that no longer says anything. In this way, the discourse of language is rediscovered, which sometimes becomes a poetic rite or a mesmerizing act, an ironic incantation. Rapid and unexpected situational change, new power, and slowed-down ironic generalization. He is in no hurry to say it all of a sudden, he has not yet heard it. There is a common situation of spontaneous change. In some places, there are ironic stories that require patience. Poetic irony seeks to break down ordinary boundaries, to dismantle unfortunate orders in order to find ways to convey one’s self, one’s own statement. The feeling of liberating, emerging from the restraining plaques of experience. The goal is to expand oneself in the senses, to reassemble oneself, to reconcile oneself. There are open poetic replicas to an incomprehensible reality. From those replicas, from those customary © Ina Budryte (Lithuania), Title: “Form“, paper, pastel, acrylic, 41,5 x 29 cm, 2021

© Ina Budryte (Lithuania), Title: “Mask”, paper, pastel, acrylic, 42 x 30 cm, 2021

improvisations, one develops one’s own language. With inserts, with hearsay, quotes, voices. When one’s own language begins to sound, when it is already recognized, then the processes of transformation and translation begin. Then the ordinary language becomes completely incomprehensible. Finding fragments on a linguistic level, their poetic alignment, is the key to today’s hypermedia language. The everyday set of scattered and inconsistent phrases, the circumstances of rhetorical contradiction can all be turned into good poetic language. The primary poetic relationship, the poetic utterance, the performance of poetry, the recreation of the practice left behind, lost, dismantled in various communication planes. Connections of fast and schizical linguistic performances, emotional contradictions, unsuccessful phrases that have not found the addressee or achieved nothing, they are a self-creating poetic appeal. Mixed-style poetry, efforts full of different intentions, all say that poetry is more than just a fixed language. Poetry adjusts the usual articulation, looking for the beginning of the transformation of the inner language created by the exercise of creative controversy. Sophisticated and excessive articulation is an appeal to creative thinking that has its origins in poetry. Poetic incoherence is the key to unrelated, pulsating streams of consciousness. Poetry allows you to hear the words you say and forget in the sentence. The language of poetry speaks the language of impressions and images.

Poetry is our primary, already self-creating, directly existing mythical relationship, as it is a condensed, condensed relationship with the world of all our influences and needs. A thick relationship is always a thick visual or verbal relationship, a complementary relationship. It introduces into the density of the world, into the density of meanings and expressions. To the ignorant paths and to the creative, self-destructive path. Painting is a capture of the density of the world, the cross of the world. The compressed ratio is a dense color and at the same time light, sometimes a fragmented section of intensity that turns into a medium of action. The cross turns into an intersection and metabolism of effects. The whole visual destiny is fulfilled here. Another verus is all this creative left. This is the favor and preference of the moment. When favorable creators meet, in this case the creators, they bring them, with their intensity and declared intensity, to the place of the world, an open place, an intense place that does not have the usual cartography. Such a pointing and telling place is the place of our primary relationships, our spontaneous interactions, verbal and visual influences. A place where it is difficult to separate surplus from shortage, waste from savings. Crosses of words and lines, intonation twists and turns, these are the twists and turns of life that have caught us. The primary relationship is that relationship that is already included, introduced, invited by someone, the relationship of tense intonation, swaying, vibrating flow. The primary relationship, the initial situation, is a situation of awakening, retreat, perception. In an environment of mediated siege, mediated destiny, re-establishment of mediality, universal notoriety and coercive knowledge, it is here that that provocative, self-initiating drawing, its phrase, its opening is needed. Poetry expresses it in its own way, painting shows it in its own way, derives it from the omnipotence of appearance and imagination, from a simplified, primitive, artificially conventional obligation. In an era of coercive relationships, captivating and only institutionally visible relationships, artificial modernity, intrusive moderation, here, like nowhere else, is that fresh and original relationship needed, a word for self-liberation needed, and only a line drawn for oneself. Without any artificial archaic, without any despotic regulation. The primary relationship is a thread or line, phrase, or other route to a forgotten or dormant, mechanized, or reserved freedom. Freedom is a creative establishment, a selection that rediscovers itself. At the same time, it is a poetic and pictorial direction and performance. The creative tandem of Ina Budryte and Solveiga Masteikaite is an application, at the same time a kind of blink of an eye for artificial academism, institutional scientism, and at the same time eclectic despotism. The laws of control, often extreme or complicated laws, can be understood in the rhetoric of the poetic relationship. The sketchy, fragmentary testimony of the associative collaboration of both developers is full of renewal initiatives. The AMA Academy, a migrating gallery joins this search. The Academy is looking forward to new initiatives and applications, examples of a poetic breakthrough.

“From family stories“ , (Lithuania), Title:

Ina Budryte

© paper, gouache, charcoal, 56 x 41 cm, 2008