Algis Griskevicius
Despite being evidently situated in Vilnius, Griškevičius’ paintings can only be described as ‘otherworldly’. This is due to several elements all consciously articulated to this effect. Thematically, absence and emptiness are striking elements of the chosen and depicted scenery. The fact that most painted spaces seem to expect or await a crowd accentuates this feeling of ‘presencelessness’, which immediately leads one to question, ‘why are these scenes empty?’ Temporality seems suspended and frozen, despite the soft and honest colours. Through this effect, the spectator is led to stare at the painting, as if there were something to notice, to uncover within the photographic absurdity presented. Technique serves as a perceptive effect
Classically structured around three planes of depth, images are divided as follows: a first plane of mimetic accuracy, a second plane of geometric composition and a third and furthest plane that adopts a more suggestive technique of vibrating touches of colours. All these parameters combined are a testimony to Griškevičius’ background in theatre. Each painting is structured not so much like a flat image, but more like a physical set. Hence the sense of scene in the scenery, like a stage knowledgeable about our eventual presence – the only one there is. Face to face, both the painting and the spectator…wait.