E SSAY

Jurgis Dieliautas Anima Mundi Academia

A concrete work always frames its suppressed reality and its own certainty in its own way, thus, creating its own necessary frame. Sometimes a normal frame that is not noticeable. How imperceptible the usual window frame remains as a neutral outline. But sometimes, in a moment of aesthetic or poetic excitement, in the euphoria of perception or impact, just then that usual outline of the window begins to quiver, rave, move, tremble with its own compositional or color rhythm. The visible static of the work turns into a flow, a labile, flexible course. The work is a multifaceted frame, which in this way transforms, easily transforms into a solution, a mediated solution. This is how photography turns into water, water of brightness and coherence, a compositional fixation texture, identification circles, a flow of vision. Thus, in the frame of the painting canvas, in the very outline of the canvas, layers of colors begin to tremble, spots and spots begin to shine, color lines bend under their own weight. The silk fabric under the tension of the textile work, its frame, begins to spread its color plume due to its unbearable lightness. Accurate and strikingly similar, physiological anatomical features lose their natural coherence. Gestures and movements, appeals and intentions in the dance movement, in the stage light, begin to ripple in the competition of tension, suggestion, exchange. The performance scene attempts to frame or frame other, unremembered, and already performed or intended to perform scenes. A plastic pose in the expression of light frames a possible movement, a possible aesthetic appeal. The frame frames, but it is more difficult to distinguish the variety of framing itself on the dynamic principle. To separate and find all the divisions which direct the flows of meanings, meanings, emotions, rhetoric in different directions. To separate all differences, divisions, what is framed, limited, from what is being framed. Find intensive graphemes in the graphic game, line obstacles, bends, loops, turns, which control the graphic weight and pressure of the socems. The medium of art is a complicated, problematic storage, and container of constraints, restraints. The frame protects and leaves in its scope, presents an open field of view, offers the action to fit in, the figures to gather and unite in this cavity. A capacious storage, a storage of dynamic traces, an expressive figurative or completely abstract pulpit of forms. A cache is sometimes understood as a repository of resources, deferred and aggregated decisions. The frame controls the resources of action and capability, actor and action. In a long and careful look, boundaries dissolve, narrowness and insecurity no longer remain, and new desires open up. As the solution flows, some traces disappear and completely different traces are created. Landscape traces turn into traces of a face, traces of bodily expression, physical symbolism become an ornamental texture. Performance is a frame and the performer has a frame for his action. The performer is in the frame of his actions and his moods, in his rhythmic course, in the soluble, fragile, loose medium of his situation. The piece being performed introduces hearing into the image, the vision becomes the acoustics of perception, the mood heard and listened to during the rhapsody settles into the background of the vision. The colors start to sound, after reaching the limits of hearing, they return to their performance. An image, an action, a figure, it’s a performance, sometimes pre-reflexive, pre-verbal, an unexpected rise, an unexpected opening, full of squealing or fluttering, leading to anxiety or fear of performance. Performance frames performance, image frames representation, acoustics frames sound. Looking around and inspecting, the effective efforts of going around and looking around bring diversity to life, break up passive unity. Formed, concentrated meanings with their whole set-up are approaching. The work is a framed medium, a framed selection, where there is no longer a conflict between form and frame. Where matter itself slowly loses its precision and expands its resolution. A survey is a scout, looking for unexpected and unexpected attributes, unpredictable setups or parameters. We look at the medium, we look through the medium. Through the photographic still water, through the reflections and flashes, through the furious paleness, we look elsewhere. We do not only look at the medium of the work or creation. When looking through the window of the frame, the frame is no longer visible, because the frame expands, the limits in the vertical and horizontal direction of the frame become an imperceptible shift. Colors in oil layers add depth to their layers. The frames of the figure in the sculpture find their shadows in the change of light. The fresco begins to show its fragmented plot. A more complex practice, a more complex view, when we look at something through it and feel the effect of the work’s medium, the breakthrough, in a completely different way. That is how power looks, the power of disruption speaks. The interference power is the background, the background power of the image. The scratched, time-cracked image of the canvas directs the gaze deeper, to the origins. The plastic texture of the sculpture begins to bulge uncomfortably in bright daylight. The plastic material becomes light in the tension of the gesture; it loses the burden of a rock or a stone. Shadows disappear and do not interfere, other disturbances are born and approach. Plastic characters, figure tones, carved, polished movements pause in a moment of insight or doubt. In the plane of the blink, the motionless background of photography stirs, trembles, and becomes the impatience of perception. The medium is an expanded solution, a cooled, scattered, congealed or otherwise indirectly opened solution of movements and actions, static micro-beams. The unfrozen grass during the winter, the contrast of the black earth, all this is a solution of the variability of colors, their exchange. Cyclic play is a game of outline, a game that has turned, changed itself, absorbed itself anew, and danced. This is already a mental, procedural game. A game needs a game, a game needs players. Sometimes these are players with pictorial attributes, mimetic attributes. The ones, which speak from the color, graphic, marble plane. Because the very matter of the work speaks, the matter of expression and intelligence.

Sometimes distance, distance, distance is a wide, self-expanding game of perception, a game of renunciation and renunciation, waiting for excitement, loss of stability. A game in other, only implied, only visible, but directly even invisible games. Game line offers game lines, choreographic, theatrical, other performance lines. While the solution solidifies, it twists and turns, and all future lines migrate in it. Someone is still spinning over the circles; someone is just repeating the same repetition. Until a mental solution is born, a solution of trembling concepts, practical statements, incoherent discourses. The mental solution is the solution of the concentration of the work, the crystallization of the action being created, when the mental plane melts into a new sensitivity, a new receptivity, another sensory, plastic plane. The solution of the unfinished painting, the frozen palette, the solvent of the vague, unfinished artistic movement medium. Incomplete is a reference to an end, and an end is already a reference to duration. You need to see something through the surface of the tipple; you need the power to be seen in the trippy medium. Through this, we look at finished works which themselves melt the frost or rage. Melting ice requires a different effort, a different perceptual effort, a different elasticity or a different flexibility. A direct interjection cannot be turned into a vowel. Missing letters or sentences turn into a colorful, marble, metallic texture. Through the medium of stage dance, through graceful and smooth movements, we observe more complicated plastic wonders transformed by life. The unnecessary plasticity removed from the sculpture, leaving the necessary plasticity, is a reference to the generalized, agitated fluttering of life situations. A portrait created from metal, as if from soft wood shells, is the power of turnover, the plastic turnover of matter. Graphical resolution is a possible limit. Art expands and expresses, the work embodies boundaries. Sometimes the boundaries are blurred. When the boundaries in the cluster, in the simbolic gather, when the boundaries are found after great effort, the boundaries begin to sound. Frame lintels and overlays begin to sound; lines and threads begin to vibrate. No more unnecessary displacement, no more wasted effort.

Aesthetic or poetic, plastic or acoustic meanings that were once scattered need to be collected somehow. Through the assembled setup, through the selected form, through the window of the image, something else can be noticed. You can notice the texture, the skin, the effort, the shape. It is difficult to see the primary form, the selfconstituent, permeable, transparent form through the format. It is even more difficult to see through the image a changing or nascent form. Sometimes we need the pressure of art, the weight of color, the dimension of sound, the thump or throb to see the form, which emerges from the visual curtain, from the curtain of being and being from the curtain of the spread abundance of material. In form, the distinction between inside and outside sometimes disappears. The inner silenced form sounds, with an action or a joyful scream, a peculiar intonation becomes. The noisy external form loses its vibration and responds in silence. A staged, detached, movement filled with pure performance, pure dance plastic suddenly turns into a catch of intonation, a response in the audience hall. The euphoria of colors, silent in the emptiness of the hall, begins to vibrate from the joy of recognition, from the warmth of smiles. The meanings of art, like the migrating meanings of life, need to be collected. You need to see or hear, remember, or maybe dream the frames. It is appropriate to capture the form, the flow of the form, the full moon of emptiness in the format or format. A window can be found in the flow of circulation, in the flow of change. Effort is a solution that can be stopped by a piece. With effort, we can speed up the crystallization of form. Then the light of the image is a combination of brightness, then the light of colors shines in the heavy circle. Then our incoherent and sluggish movements are caught up by the already coherent movement of the performance, lifted up to the stage. Color to color, gesture to gesture, movement matures movement. Realizing, being caught, we are already able to intervene ourselves, to restore or recreate ourselves. We are able to change, we are able to tame uncontrollable flows. We gain the courage to be, create ourselves, dare to establish ourselves. The foundation is the frame, window and solution of the work of art.