A relief work composed of a layered, multi-planar geometric composition depicting the Pillars of Gediminas in a three-dimensional perspective. Textile elements, fragments of drawings, and painted surfaces form not only a visual but also a tactile object, in which traces of children’s drawings and material textures evoke subtle associations rooted in memory. The work is characterized by a calm, focused color palette: cool blue tones, various textiles, painted and drawn elements create a sense of quiet and twilight. The Pillars of Gediminas symbol, highlighted in a vivid orange color, becomes a sign of light within the dusk.

Liūnė Sutema is a pseudonym of the émigré writer Zinaida Nagytė-Katiliškienė, whose meaning and emotional tone closely relate to this work. It is associated with quieter, more personal experiences, melancholy, a closeness to nature, memory, and a connection to one’s roots.

20x13x1 cm

Acrylic paint, ink, drawing fragments on paper, textile, varnish on plywood

This is a relief object composed of a multi-layered, stratified composition. The work consists of various forms covered with paint, textile, and abstract fragments of children’s drawings. In this way, different materials, colors, and textures come together to form a unified harmony and embody one of the oldest and strongest symbols of Lithuanian identity, giving it a contemporary and vibrant visual expression.

Vytė Nemunėlis is one of the pseudonyms of the Lithuanian writer Bernardas Brazdžionis and functions as a linguistic bridge between imagination and reality, where Brazdžionis’ poetic imagery of nature resonates with the materiality of this work and the writer’s significant literary legacy.

20x13x1 cm

Acrylic and fluorescent paints, drawing fragments on paper, ink, textile, varnish on plywood

Some people cross their fingers when they wish something to happen. I made this piece as a constant symbol of luck that may happen when you cross the fingers.

I wanted it to look less obvious at the first sight, so the eye and mind could interpret it in personal way. Maybe to remember some wish that could come true.

20 x 33 x 2 cm

acrylic, graphite, textile, lacquer on wooden shapes

Supta Kurmasana is the Sleeping Turtle. When a turtle sleeps, it is in a safe environment and can hardly be disturbed. In this posture, the limbs, ears, eyes, nose, skin, mouth, and mind withdraw inward, toward an inner landscape that leads to Pratyahara and invites us to discover a sanctuary within, independent of the external world.

This artwork encourages movement and gently reminds us not to stay stagnant for too long. The serene posture of the Sleeping Turtle invites reconnection with the body and a return to the stage of mindful motion in everyday life.

Key benefits of Supta Kurmasana include: deep stretching of the spine, hips, glutes, thighs, and hamstrings; calming of the nervous system; stimulation of internal organs; and support for self-reflection, focus, emotional processing, humility, patience, and respect for one’s boundaries.

Namaste!

151x81x3 cm

acrylic, various textile on plastic panels

Once upon a time, there was a sage who was bathing in a river. When he stepped on the river bank, he found a scorpion trapped between two rocks, desperately struggling to escape. The sage freed the scorpion by moving the rocks. As soon as it was free, the scorpion stung the sage with its poisonous tail before scampering away. An onlooker laughed and told the sage that it served him tight to save a scorpion. To which the sage replied, “I behave as per my nature and it behaved as per its own.”

Vrischikasana is a wall-mounted relief inspired by the advanced yoga pose known as the “Scorpion.” Constructed from layered textiles and painted surfaces, the piece evokes the human form in a moment of deep physical engagement – a backbend so intense it mirrors the coiled readiness of a scorpion. The subtle interplay of materials invites the viewer to trace the contours of the figure, almost sensing the breath held within the pose.

Rooted in the symbolic nature of its name, Vrischikasana also echoes the ancient parable of the sage and the scorpion: even when harmed, the sage continues to act from his true nature – peaceful and kind. Likewise, this artwork suggests that we, too, can meet life’s challenges with balance, inner strength, and grace.

It is both a visual meditation and a physical reminder: growth happens when we return to the body, embrace discomfort, and lean into our own resilience.

Namaste!

100x125x2,5 cm

acrylic, various textile on plastic panels

The word Shalabhasana comes from the Sanskrit word “Shalabh” meaning locust or grasshopper, a type of insect that lives on the ground.

A locust cannot move in reverse nor move sideways, only moving forward. Always moving forward, always open to change and not about to repeat the same mistakes by going backward. We only need to think about this for a little to recognize the spiritual lessons involved.

Mounted on the wall, this textured piece becomes a visual mantra – an encouragement to rise from passivity and reconnect with the physical self. It evokes the posture it is named after (the yoga “locust pose”), often used to awaken dormant energy and strengthen the body’s back and core.

In an age of prolonged sitting and mental fatigue, Shalabhasana is a quiet reminder: movement is healing, and caring for the body is not optional – it is sacred.

Namaste!

181x75x4 cm

acrylic, various textile on plastic panels

For a few years in my life I’ve been studying geodesy and liked to measure the relief of some places, then draw them in lines, which show how uneven the surface is and what interesting shapes appear if you try to trace the objects on plain ground.

There is no secret that the Earth is not so flat, nevertheless in some layers of social groups the topic of the shape of our planet is explored controversially and even with religious passion.

This work in some way approves the idea of a flat earth. It is quite flat and depicts the surface of the planet Earth. On geodesy maps the drawing is on flat paper and only lines reflect the relief of the drawn area. I invite to view this flat earth as a fragment of a map which simplifies the nature and gives a hint to our brain to visualize the true place that may be somewhere close, nearby you.

120x100x3 cm

various textile on plastic panels

Diamonds mostly are so shiny, transparent and perfect. Raw, special, different – this is the diamond I wanted to make. Irregular shape, solid color with dark shades. As if something not usual, not as we would expect but not less in value. The same could be applied to humans. We value and compare ourselves, but is our worth different? Also I like how it sounds when said: I have a black diamond at home. It sounds mysterious and indeed, it carries something that cannot be put in words, but felt.

Aluminum and wood plates were covered with various fabric and glued together to form this black diamond. Edges of those plates were painted with dark, gold and bronze colors to sparkle some light when you see it in angle. Asymmetrical and tempting to view up closer.

50x70x4 cm

acrylic, aluminum and wooden shapes, various textile

This white and seemingly light bubble is quite large, but on a white wall can easily blend into strange furry shapes. I guess, some princess would love to hang it besides a mirror to see it in background of her face.

This piece is quite heavy, but round shapes, furry and glittery surfaces make it light.

This technique was developed over time of my experiments with blending materials and medias. So, I drew the sketch, then traced the shapes with computer and those were cut out from cast acrylic sheet. Then covered with textile and glued together into one object which can be hung on the wall.

100x100x4,5 cm

various textile on plastic shapes

This large artwork was inspired by a small forest mushroom – chanterelle – whose name echoes across languages and species:
Lithuanian: squirrel (voveraite),
Polish: hen (kurka),
Russian: fox (lisichka).

Its shape, color, and gentle presence carry surprising emotional weight. For many, it evokes childhood memories: walking in the woods with friends or family, scanning mossy ground for those wavy caps. For others, it becomes a symbol of nature’s subtle connection between textures, senses and shapes.

The composition balances simplicity with nuance, inviting viewers to slow down and notice. Just like spotting a chanterelle in the forest – it appears once you learn how to see.

150x130x2 cm

various textile on plastic shapes

The sea is full of wonders. Somewhere lurks a devil, but somewhere else a clown makes his wet jokes.

This artwork reimagines the clownfish not as a biological specimen, but as an abstract character assembled from playful, softly layered shapes. With bold fields of orange, white, and shadowed depth, it echoes both minimal design and childlike imagination.

The name “Clown” evokes paradox: why is this quiet fish a “clown”? Is it because of its color, its role in underwater ecosystems, or its disarming resemblance to joy in disguise?

Placed on a wall, this piece becomes more than a fish – it’s a conversation starter, a gentle absurdity in your space. It might just make someone smile. Or think. Or both.

96x52x2,5 cm

various textile on plastic shapes

The shape of skull is very obvious, though it can be made of few simple peaces put in right places. Anybody can draw it easily and we feel what it shows: past and future of many, of everybody. Shape of skull shows no personal signs of individual, but we know that in the past there were some. Now it’s a temporary reminder that we’re temporary and alike.

Temporal bone is covered with fur. It makes a skull a bit more alive. Teeth are made of reflective fabric so in the dark they will glow under sudden light. These details make the skull more fun than scary and it should be that way.

~ 73×67 cm

At first glance, this is a serving of ice cream. Melting, with slightly absurd colors, visually close to pop art aesthetics. But these colors are not just unusual, they are as cold as the treat itself. Not only visually, but symbolically as well.

Tricolor is a work about subtle nationalism. About what it means to belong somewhere without overtly showing it. About how love for one’s origins can sometimes become not a poster, but a subtle, inner taste – like a dessert you savor quietly, without offering to anyone else.

Looking at these colors, you may not realize that their inversion reveals the Lithuanian flag. This is not declarative patriotism, but an aesthetic game: a code for those who know, and a surprising discovery for those who seek.

Textiles in the work create an additional sense of layers: like strata of memories, like the tactile softness and authenticity of texture. It is a piece that smiles from afar, yet invites you to come closer and perhaps then you will see the tricolor you carry within yourself.

50x100x1,5 cm

various textile on plastic shapes

This is stylized glass which traditionally can be seen as half full or empty. though name of this work is optimistic, viewer can see it half empty or refuse to see a glass at all. piece of work can be seen as bunch of shapes stuck together in some harmonious manner.

i like to experiment with materials and shapes, to see how various fabrics fit together not even in color, but also in texture. textile surfaces make whole piece more cozy, intimate and homey.

50x586x1,5 cm

aluminum and wooden shapes, various textile

Tthe shape of lips is not too obvious, so imaginative parts of our minds can play any situation or story, or perhaps can bring some memories of intimate moments we had.

Layers, colors and simple shapes make the whole picture. i wanted to play with flat sculpting to reveal this iconic object we all have.

~ 90×65 cm

Nature inspires me in it’s own way. It is organic and shapeless, but this time i wanted to see how precise structure, lines can reveal what we see in animal if it is simplified into triangles and rhombuses.

Textile and artificial fur convey this sensory part of an animal. you can stroke it as a calm friend.

This technique was developed over time of my experiments with blending materials and medias. In this case, I drew a sketch, then traced the shapes with computer and those were cut out from wooden plate. Then covered with textile and glued together into one object which can be hung on the wall.

55x75x2 cm

various textile on wooden shapes

~115×40 cm

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