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Vladas Suncovas: Urban Delicacies

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On April 7 V. Suncovas’ exhibition-research is opening at “apiece”, a showcase-style gallery strategically focusing on autonomic artistic expression. The exhibition presents various objects, fragments and models of conceptual design that have a specific function. Some of them are earlier unrealised ideas for public urban spaces, while others are new objects. These exhibits made available for viewers to consume and subjectively evaluate can be seen as alternative directions in creating identity for public spaces in Lithuania, and include details of children playgrounds, pieces of furniture, urban landscaping ideas, small-scale architecture and site-specific art, along with other urban elements. As the author of the exhibition himself puts it: “That which makes you smile doesn’t have to be silly; that which is childish doesn’t have to be straightforward; that which is patriotic isn’t always majestic – because it can all be both cosy and tasty”. So, one could likened the exhibition presented at “apiece” gallery to a menu at a new restaurant inviting viewers to enjoy the urban delicacies “freshly” prepared by V. Suncovas.

apiece: Vladas, were the associations of urban elements with delicacies dictated by form or aesthetics, and why did the works veer towards a dessert menu rather than a main course menu?

Vladas Suncovas: Actually, the work has both desserts and main courses. There are also other elements of a carefully set table: cutlery, napkins, toothpicks, spices, glasses, uninvited guests, produce gone bad, abandoned items and much more. I also use the word “delicacy” rather loosely, just to describe something that is exceptionally tasty. The tradition of serving tables in different themes is very old and exceptionally rich. Looking through my “fridge of ideas”, I realised that I have a lot of urban models, sketches and ideas related to food in one way or another. So I decided that it would be appropriate to exhibit these ideas by loosely interpreting the concept of a served table.

a.: Your works tend to be two different things at once, since one can easily recognise in them connections between, and methods of, different artistic movements, as well as associations having ambiguous purposes and imagery. Why is it important for you not to be “trapped” in the field of representational art alone?

V. S.: For starters, I think the answer is encoded in your question: since I make objects containing multiple meanings, they readily find their place in different contexts. When I think of an idea for a new project, I feel most comfortable when I don’t limit myself to a preconceived notion of where and for what purpose it will be realised. When I think of a gazebo shaped as a clementine peel, I experiment with the shape and materials, I let my imagination tun in all directions. Once I’ve reached a certain point, I realise that in order to develop it further, I need to move on to the second phase, which is preparing a specific project for specific clients, specific locations, etc. I would develop it one way as scenography, another way as an architectural pavilion for a public space and yet another way for a private space. Or else the idea could be best expressed as a painting, sculpture or short story.

Secondly, exhibition “Urban Delicacies” presents my initial ideas that haven’t yet reached their final shape. Some of them might be realised in the future, some will change shape as they get developed further and some other of these “dishes” are perfectly expressed as scale models.

a.: Artwork-research “Urban Delicacies” is based on creative reflection on Lithuanian public spaces and is presented at a one-piece showcase-style gallery located in a public space. Does the choice of the exhibiting space expand the meanings of the work?

V. S.: I’m very happy about the opportunity to present my ideas in this particular space. I do believe that „apiece“ gallery expands the understanding of the work and provides it with a specific context. Speaking of urban public space while being in this space constitutes a unique opportunity. I believe that exhibition “Urban Delicacies” will be viewed by people of different ages, social status and worldviews. This is especially important if we are to have a sane dialogue leading to changes.

Vladas Suncovas graduated from Vilnius Academy of Arts (BA) and the Royal Danish Academy of Fine Arts (MA). He uses architecture, design and technology to create spaces and tools that they require. V. Suncovas develops his creative practice by making art in public spaces, scenography, exhibition design, small architecture, installations, experimental furniture and educational projects. His work is characterised by modular, deployable constructions, mechanical elements of engineering, parametric design, as well as transformation of space through conceptually based, often critical solutions.

Exhibition curators: Milena Černiakaitė and Aušra Trakšelytė

Graphic Design: Marek Voida

Communication: Menų Komunikacija

Exhibition funded by Lithuanian Council for Culture

Exhibition open from April 7 to May 31 2023

Exhibition can be viewed 24/7

Michael Mccready FOAM LAMP

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ABOUT

The ‘‘Foam’’ lamp is the second installment in the ‘‘Foam to Dust’’ collection. It’s soft light is perfect for creating a spiritual atmosphere mimicking the warm glow of a candle. When the lamp is off the bulb embodies the idea of self reflection.

The ‘‘Foam’’ lamp is made with Aluminium Foam. This material is strong, light and corrosion resistant.

The foam structure of the material allows to create volume and texture using a much smaller percentage of raw aluminium.

The “Foam” lamp is designed not only to satisfy the technical and aesthetic expression but also with reducing material consumption and waste. Aluminium is a highly recyclable metal with a low melting point and 75% of all aluminium producing is still in circulation today.

Each ‘‘Foam’’ Lamp is crafted by hand in our workshop and may take between 4-6 weeks to produce.

Michael Mccready FOAM LAMP (Table)

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ABOUT

The ‘‘Foam’’ lamp is the second installment in the ‘‘Foam to Dust’’ collection. It’s soft light is perfect for creating a spiritual atmosphere mimicking the warm glow of a candle. When the lamp is off the bulb embodies the idea of self reflection.

The ‘‘Foam’’ lamp is made with Aluminium Foam. This material is strong, light and corrosion resistant.

The foam structure of the material allows to create volume and texture using a much smaller percentage of raw aluminium.

The “Foam” lamp is designed not only to satisfy the technical and aesthetic expression but also with reducing material consumption and waste. Aluminium is a highly recyclable metal with a low melting point and 75% of all aluminium producing is still in circulation today.

Each ‘‘Foam’’ Lamp is crafted by hand in our workshop and may take between 4-6 weeks to produce.

Saskia Fischer LIGHTS

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ABOUT

LIGHTS is an installation of six hand-made neons. Possible to purchase whole installation or each object separately.

The illuminated sculptures possess an organic, bulbous, and feminine formal language, resembling phosphorescent vermicular creatures. The coloured borosilicate glass tubes contain the inert gases neon and argon. The contrast between the glass tints and the electrified gases creates a vibrant, animated visual effect. 

UNIQUE OBJECT

Light 1 (Twist) – 1400 €

Light 2 + Light 3 (Heart) – 2000 €

Light 4 (Snake) – 1800 €

Light 6 (Swirl) – 1100 €

Light 1 (Twist) – borosilicate glass (amber), neon, transformer, wire

Light 2 + Light 3 (Heart) – borosilicate glass (yellow, mid blue), argon, transformer, wire

Light 4 (Snake) – borosilicate glass (green), neon, transformer, wire

Light 6 (Swirl) – borosilicate glass (light pink), neon, transformer, wire

Light 1 (Twist) – ca. 90 cm

Light 2 + Light 3 (Heart) – ca. 70 cm + ca. 85 cm

Light 4 (Snake) – ca. 100 cm

Light 6 (Swirl) – ca. 50 cm

Saskia Fischer (Germany) is an interdisciplinary artist working with images, objects, texts, and environments. Her research is concerned with the paradigms that form and inform landscape as a reflection of cultural and social values. This research is expressed through photographs and installations synthesizing diverse media blending materials and motives from architecture, gender studies and art history. Saskia studied postgraduate fine art at Goldsmiths, University of London (2018), photography at Folkwang University in Essen (2015), and sculpture/installation at Estonian Academy of Arts (2014). 

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MISSHAPEN conceptual jewellery line IOCUS: ring no4

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ABOUT

Iocus (Latin) – a jest, a game, a minor amusement, a gem.

IOCUS is an open question about the significance of jewelry in modern life, our irrational desire for luxury, pleasures and things that have no practical value.

MISSHAPEN was born from the idea that the beauty of a piece of jewelry should not reflect traditional aesthetic values. While working on IOCUS, the idea of ​​deformation has moved from questions about material beauty to thoughts about our approach towards it. Perhaps an unusually-shaped piece of jewelry is not misshapen, but rather what we perceive to be an adornment. That is why the main material in the collection is dichroic glass. Used in place of a gemstone, it reflects light and changes colour depending on viewing angle, provoking the observer to get closer. And somewhat ironically, it reminds us that by reflecting on the environment, the jewelry becomes a part of it, rather than drawing attention to the person who is wearing it.

IOCUS consists of massive, atypical jewelry shapes that continue the idea of MISSHAPEN. The pieces look sculptural and should be seen as portable objects of contemporary design, created and handmade from silver and dichroic glass.

RING no4

180 €

Silver, dichroic glass 

Glass lenght – 5.5cm

MISSHAPEN is a signal. The one sent by pairing together a human body with a unique on-body object. Loose in form but strong in message, MISSHAPEN handmade objects may require a body full of open-yet-sure personality. Well. That is the way your signal breaks through the ordinary glamour noise.

Arvydas Umbrasas sculpture the hunt

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ABOUT

Arvydas Umbrasas’s research for this work took its starting point in the myth of The Cosmic Hunt. This myth tells the story of an animal which was chased and wounded by a man, bounced off the ground, leapt into the sky and turned into the Great Bear constellation.

UNIQUE OBJECT

7000 €

Aluminum casting, cold-rolled steel, anti-rust paint, rubber 

H 1100 cm X W 1100 cm X L 3900 X 700 cm

Arvydas Umbrasas is a Vilnius-based artist. His sculptural works deal with cosmic bodies and their impact on the human imagination.

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MISSHAPEN conceptual jewellery line IOCUS: earring no2

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ABOUT

Iocus (Latin) – a jest, a game, a minor amusement, a gem.

IOCUS is an open question about the significance of jewelry in modern life, our irrational desire for luxury, pleasures and things that have no practical value.

MISSHAPEN was born from the idea that the beauty of a piece of jewelry should not reflect traditional aesthetic values. While working on IOCUS, the idea of ​​deformation has moved from questions about material beauty to thoughts about our approach towards it. Perhaps an unusually-shaped piece of jewelry is not misshapen, but rather what we perceive to be an adornment. That is why the main material in the collection is dichroic glass. Used in place of a gemstone, it reflects light and changes colour depending on viewing angle, provoking the observer to get closer. And somewhat ironically, it reminds us that by reflecting on the environment, the jewelry becomes a part of it, rather than drawing attention to the person who is wearing it.

IOCUS consists of massive, atypical jewelry shapes that continue the idea of MISSHAPEN. The pieces look sculptural and should be seen as portable objects of contemporary design, created and handmade from silver and dichroic glass.

EARRING no2

150 €

Silver, dichroic glass 

L-12 cm, W-7cm

MISSHAPEN is a signal. The one sent by pairing together a human body with a unique on-body object. Loose in form but strong in message, MISSHAPEN handmade objects may require a body full of open-yet-sure personality. Well. That is the way your signal breaks through the ordinary glamour noise.

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Eglė Pilkauskaitė: Soil Surface #2”

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Eglė Pilkauskaitė’s single artwork exhibition “Soil Surface #2”.

On February 19, E. Pilkauskaitė’s exhibition opens at “apiece”, a showcase-style gallery strategically focusing on autonomic artistic expression. Artist’s work attaches great importance to the surrounding environment and to places affected by processes of exclusion and decay. Materiality also plays an important role in her work. These are craft-oriented materials, adapted using various technologies and methodologies, including researches into different textures and use of textures in which they are not imitated but rather reflected upon.

“Soil Surface”, exhibited at “apiece” gallery, is a new version of the work, in which the imprint of the soil is cast in concrete slabs. According to the artist, it aims to make sense of the value of (the) “earth” being turned into an exhibit, and of the issues relating to the Anthropocene, all the while highlighting the importance of man’s physical relationship with nature.

– Eglė, was the choice of material affected to the showcase-like space of the gallery or was it motivated by other reasons? Also, what do you think is the relationship of contemporary (urban) person to nature (specifically to earth), and why is it important for you to make sense of it in your work?

– The idea of the work does relate to the location of the gallery. It is located in a little park in a rather busy area, marking a stretch of Čiurlionis street, leading to the city’s largest park, Vingis Park. The object displayed at the gallery becomes a kind of boundary marker between the industrial and recreational spaces of the city. The casting of a direct earth imprint in concrete creates a deliberately misleading allusion to the surface of the now fashionable organic material. The human relationship with the earth tends to remain consumerist, from the cultivation of exotic plants at home to large-scale building projects. Concrete has become the second most consumed material in the world after water. For this work I have chosen a form that can become a kind of pedestal for the contemporary search for a balance between man and nature.

– In your work, you often make use of objects found in various places to convey the beauty of decay. You have previously indicated that you are interested in questioning social norms of beauty and aesthetics. Why is it important for you to balance the line between beautiful and ugly in your work?

– I’m interested in why something is attractive to one person and not to another. The process that determines our aesthetic choices is extremely interesting. I try to look at aesthetics through a social perspective.

Eglė Pilkauskaitė lives and works in Vilnius. She graduated from Camberwell College of Arts, University of the Arts London in 2014 with a BA in Drawing. Since 2016 she has been actively participating in exhibitions and art projects in Lithuania and abroad.

Exhibition curators: Milena Černiakaitė and Aušra Trakšelytė

Communication: Menų Komunikacija

Graphic design: Marek Voida

Exhibition  partly funded by Vilnius City Municipality

Exhibition open from February 19 to March 31 2023

Exhibition can be viewed 24/7

More about artist: www.pilkauskaite.com 

RŪTA PALIONYTĖ and IEVA BARANAUSKAITĖ‘s light object DAYDREAMER, 2022

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ABOUT

The Daydreamer – an object that responds to natural and artificial light.

Daydreamer is a hybrid object of art and design, creating ways to observe the phenomena of light. The luminaire consists of two individual parts – the curved dichroic glass piece and the quartz sand element with an integrated miniature spotlight.
A seemingly transparent curved glass tints the surrounding surfaces with colours and becomes a brush to create paintings of light.

Dichroic glass has special optical properties: it reflects some of the component colours of light and is permeable to others. It reveals a fact that we all know but can not see: white light contains many colours. The object brings an opportunity to observe the continues shifting: during the day – with changing natural light, and in the evening – with the help of artificial illumination.

It is the light that forms the dialogue between the elements of sand and glass, shaping it into wall mounted luminaire- the Daydreamer. 

3800 €

Dichroic glass, quartz sand, aluminium, light source 

H71 cm x W30 cm x D15,5 cm

The sand elements are available in Earth White and Mars Blue colors. 
The dichroic glass color effect available in Orange and Cyane. 
Different colors available on request. 
Daydreamer is available on request, delivery time: 8-10 weeks. 

Rūta Palionytė is a Copenhagen-based light installation artist and lighting designer with a Master’s degree from the Edinburgh (Scotland). For her, the phenomenon of light and its influence on visual perception, architecture, design objects or natural landscape is one of the main creative sources. Palionytė also collaborates with artists in various fields and has implemented many international projects.

Ieva Baranauskaitė is an architect with a Master’s degree from the Royal Danish Academy of Arts, Copenhagen, and a BA obtained at Vilnius Gediminas Technical University. She has gained her professional experience working in renowned architectural offices in Japan (Kengo Kuma and Associates), Denmark (KHR Architecture) and Lithuania (Arches). Currently Baranauskaitė is developing her individual practice and working on various architecture and design projects in Lithuania and Scandinavian countries.

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MISSHAPEN: A third of a second

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1/3 of a Second, a single-artwork exhibition by Misshapen, at apiece gallery

Starting from 12th January, a conceptual design exhibition by MISSHAPEN, titled 1/3 of a Second, will be hosted at apiece – a gallery strategically focused on autonomic artistic expression. It was Misshapen that featured apiece during its opening exhibition in 2018, when the gallery was still located in the oldtown of Vilnius (Didžioji St.). Then, a hand-made porcelain object from the very first MISSHAPEN collection was showcased. The artwork to be presented now is explained by Milena CM, the author behind MISSHAPEN, as follows:

One third of a second encodes an impulsive choice or an unreasoned human act. It’s a moment of an unconscious decision; a moment that requires no efforts. On the contrary, this amount of time is even impossible to be consciously noticed. It is thought that 95% of decision-making brain activities are unconscious, and only 5% of them fall within the field of our consciousness. According to neuroscientists, it is obvious, and normal, that many actions we take are unreasoned and environment-driven, or – so to say – out of our understanding. It is by no means a negative thing though, as we simply could not function otherwise. This phenomenon is sometimes called an intuition that is said to be responsible for our unconscious, but right decisions. And what I doubt today is the very concept of “right decisions”. Thus the exhibition title, and the third Misshapen collection itself, refer to both my research in consumer behavior and the artwork that coronates it: the crown.

I have spent more than a year digging into what actions are possible to be taken – or, more precisely, refused – during these 313 milliseconds. The purpose of my 1/3 of a Second artistic research – that included numerous fields, such as neuromarketing, consumer behavior, trends, personalized design, and neuroscience – was to answer the following major question: why, and how much, do we consume today, and what could be done differently, more consciously.

In the process of the research, I have concluded that ethical values of jewelry are more important to me than aesthetical ones. The latter, by the way, change and fade away very quickly, together with trends, fast consumption, and a human desire to own yet more and more. That’s why the collection speaks for immoderate consumption rather than importance of jewelry aesthetics.

Why did you choose a crown as your single collection object?

The crown has been created while rethinking the historical aspect and roots of jewelry, as well as my own perception of importance of jewelry today. I designed it as a collection of artefacts, where the history and natural elements – such as shells, tree branches, nails, and horns – intertwin with what they are meant to protect from: witches, snakes, and demons.

A crown is a historically significant symbol of luxury, power, and a status. To ironize certain “royal” facts – that’s why I chose a crown as a symbol to sum up my artistic research, for the MISSHAPEN crown embodies the other side of the history of jewelry, it cannot be acquired, or owned.

MISSHAPEN It is a signal. The one sent by pairing together a human body with a unique on-body object. Loose in form but strong in message, MISSHAPEN handmade objects may require a body full of open-yet-sure personality. Well. That is the way your signal breaks through the ordinary glamour noise.

MISSHAPEN emerged out of the idea that beauty of jewelry should not be framed or reflect traditional aesthetical values. As the idea evolved, the litteral meaning of “misshapen” transited from the level of matter to the one of approach – so MISSHAPEN could be our perception of what is beautiful, and what is not, rather than just slightly weird jewelry. Today, it is an approach to misshapen consumer habits that questions the impact of neuromarketing to our unconscious desires and emotion-based decisions to act, i.e. to buy.

The curators: Milena Černiakaitė and Aušra Trakšelytė.

The communication: Menų Komunikacija.

Graphic design: Marek Voida

The exhibition is partly funded by Vilnius City Municipality and the Lithuanian Council for Culture.

The exhibition will be open from 12 June to 17 February 2023. The exhibition can be viewed 24/7.

More about apiece: www.apiece.lt

More about MISSHAPEN: www.misshapen.eu