20×25 cm
that day I suddenly remembered
crazed with all the energy
jumped from brick to brick
balanced on one leg
like karateka kung-fu master
flapping arms and kicking air
widely eyes squinted
as in a movie I just saw
a leg broke as I was bravely leaping
with eyes slightly squinched
I yelled into a sandy ditch
kyaaah with all the focus on my foot
pierced by a buried bucket’s brim
accidentally I was overtaken
by a forgotten sleeping bucket
glistening in the ditch
a thread of lightning struck a tree
as with a sword before my eyes
the treetop fell down another thread
hit me a little bit too late
with steaming coffee on the terrace
I bolted off the chair
and screaming aaaah I heard
a pop of breaking leg
when the chair fell I had remembered
the day I jumped waved and balanced
like a master in a recent movie
I screeched with squinted eyes
big teardrops fell into the ditch
the rain calmed down the aching tree
that day a bucket overcame me today
the lightning flash took down a chair
51×81,5×4 cm
acrylic, spray paint, graphite, markers, lacquer on wooden panel
2 cm white wooden frame
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
In this artwork, the army is depicted abstractly, like shadows moving across a cold, snowy landscape. Their steps are heavy, their shoulders burdened with duty. Though their bodies are armored, stern, and resilient, a sense of longing begins to stir within. On the way to battle, memories quietly seep in: of the women left at home, their songs, their care, the soothing sound of their voices. The tension between outward hardness and inner fragility becomes the central emotion of the painting.
Like warmth melting snow, this feeling penetrates their consciousness: gentle yet irresistible. It is not weakness, but humanity, an echo from the depths of awareness, reminding that the need for love, understanding, and comfort remains for everyone, always.
hordes of restless men crowded this day
soldiers covered in armor
bound by iron canvas leather
guts pulsating heartbeat echoes
heavy in the temples
raising legs into a step hot breath
not gazing to the sky
backs pressed under their heavy gear
for saving or for taking lives
in the name of children forsaken homes
of women and their songs of foxes
birch trees a boy a blossom or a god
meadows rivers apple orchards
having left behind they track through snow
some in a memory some in a dream
some wiping tears away their rosary
they tell a joke with crooked smile
dropping down a mitten with a cough
on snowy land of their ancestors
snow crystals blink with eyes of
jilted maidens
eyes water clasping throat with tears
drop silent deep into the snow
into the frigid ground and thawing
forefather spirits set deep in ice awaking
one after other soul
succumbed in battle rises
peace in the hearts of men
soughs with their mothers lips into ears
hushshsh dear child of mine
my darling oak be calm
a little bug
of mine
61x80x2 cm
acrylic, graphite, markers, wooden shapes, textile, lacquer on canvas
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
We, more or less, all have hair. Sometimes we grow tired of our own and acquire new ones. This is a sensitive, texturally rich artwork that speaks of transformation, identity, and inner metamorphosis. Using textiles, canvases of varying sizes and paints, a fragmented yet emotionally unified image emerges evoking the sense of a new beginning hidden in simple, yet symbolically charged gestures.
The textures and forms suggest touches, fragments of memories, or thoughts quietly weaving their way beneath the skin. The piece balances between softness and strength, visibility and concealment, inviting the viewer not only to observe but to feel.
75x77x3 cm
acrylic, spray paint, plastic shapes, textile, lacquer on 2 canvases
Ordinary shadows are usually transparent. They are soft, until the sun becomes too intense. But this one is different. Thick. Soft. Opaque.
In this artwork, the shadow ceases to be a mere reflection of absent light and becomes a material object – a dark, heavy plane covering something that remains a secret. It is an abstract vision of what can be concealed and remain unreachable, unknown.
The composition relies on contrasts of layers: light and darkness, soft and rough, transparent and opaque. This is no longer just a shadow, it is a veil, an obstacle. A silent yet striking ruler, hiding more than it reveals.
76x72x3 cm
acrylic, graphite, plastic shapes, various textile, lacquer on canvas
Part of this artwork is composed of mirrors layered with various materials and textures. It feels somewhat empty, yet knows how to fill itself. I invite the gaze to turn inward through symbolic associations.
The painting’s structure conceals and arranges thought through hints – parts overlap, revealing and simultaneously masking. Symmetry seems present, yet incomplete, as if paused. Perhaps this is a nod to our uniqueness, personal irreplaceability, a contrast to mechanical perfection.
The mirror engages not only the gaze but the viewer themselves. Everything reflected on its surface becomes part of the artwork. The viewer not only observes but is observed, offered a chance to see themselves as part of the artwork. Can the gaze upon one’s reflection be different, not judging, inquiring?
If you look directly at this work, you see yourself in a mirrors. You may pick an angle that does not reflect you or you can try to ignore the reflection and see the whole piece differently, ignoring the mirror view. Is that possible?
60x96x3,5 cm
acrylic, markers, graphite, aluminum, mirrors, lacquer on canvas
space is pretty much unknown.
moon is also unknown.
dark side of the moon is even less known.
it is so mysterious, you know…
60×88 cm
Some people know (but mostly – not), what happens underground or in the depths of a mountain. For instance, underneath a lush chunk of forest there might flow a subterranean river as a underwater channel between two lakes. Fish can use it to travel to some secluded nooks. Dive deep in their home lake surrounded by meadows with mountain goats and swim through a dark little undulating tunnel which ends in a forest lake or even in some sort of secretly hidden oasis between ridges looking like a plain mountain from the outside, but tucking away a meadow inside it. Like a tooth that seems externally healthy but hides nothing but decay within.
Most likely, these kind of things never existed, but I would love for at least this one instance to be real: a creek flowing down the mountain plunges deep into its depths and travels to the lake in small streams. This lake has an underground river leading to a smaller lake lying below and runs further to a second, very deep one.
70x89x2 cm
acrylic, spray paint, graphite, markers, wooden shapes, textile, lacquer on paper
2 cm white wooden frame
This piece is both a poetic and visual meditation on the human body, time, and cyclical transformation. It merges drawing and form into a unified, tactile narrative.
Created with paint, graphite, pencil on paper its surface is further enriched by raised plywood shapes covered in textile. Some of these elements extend beyond the boundaries of the white frame, disrupting its rectangular order. The physical texture resembles a body that absorbs, sweats, melts, moistens, or evaporates. These sculptural additions not only expand the visual field but become metaphors themselves. Here, fluids are understood not only in a literal sense, but emotionally as well.
A text fragment runs through the composition, speaking about how body, nature, and emotions intertwine: the thaw of spring, the sweat of summer, the sniffles of autumn, and the longing of winter. These are experiences not only processed through thought, but felt through skin, eyes, lips. The words are not separate from the visual – they unfold together with the materials, as part of a shared human condition. The artwork’s physicality reminds us that our feelings are also matter: drops, tears, sweat, saliva, blood.
in spring, the ice melts
waters rush away
in summer, rivers shrink
patience thins
cheeks burn
teeth grind
in autumn, the nose runs
eyes go red again
a maiden marries
and leaves for a far, warm land
in winter, hot wine
held close to trembling lips
you run, human, run
like a hamster in its wheel
strength drains drop by drop
and every evening, you embrace
the damp corner of the blanket
and whisper your prayer to god
71 x 89 cm
68 x 89 cm
Sold
She is all kinds of mysterious things of nature like weather, water, winds and waterfalls. She is many things at one time and one beautiful of them is music.
Enjoy
Painted on paper that is glued to a cardboard and framed. then wooden shapes covered with glittery fabric glued on top of that make the whole piece.
68 x 96 cm
While making this work I had some thoughts about nowadays. Summary would be that we all are the result of evolution, so – the best of what is so far developed by nature and god. And what are the key moments in us that are so perfect, so useful to spread in world, develop the wealth and possibilities to gain happiness? Maybe some cultural exchanges, religious beliefs, education, science, human rights and luxury to grow a thinner skin. Thinner skin means that person is more vulnerable, but feels more safe and is more sensitive to outer impact.
A piece of an artificial leather is glued on an aluminum panel and then to a surface of canvas so it extends the border of an artwork. canvas size: 70 x 120 cm. The skin adds 14 cm to the left side.
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
