Eglė Norkutė was born in Kaunas (Lithuania) in 1993. After finishing her Bachelor of Fine Arts at Painting Department in the Vilnius Academy of Arts Eglé did an student exchange int he Fine Arts at Painting Department of Fine Arts and Design of Bratislava. She has been part of many collective exhibitions mainly in her country winning the Award at the Memento Mori of Panevėžys Gallery. Eglé Norkuté has been also granted in 2018 with a Lithuanian Council for Culture grant and has been selected aver more than 75 painer to be finalist in the Young Painters Prize.
ART AND COLLECTIBLES
During my residence in Airgentum Hoja de Ruta Art-Residence I work on a continuous nomadic project by the name of ART AND COLLECTIBLES. Throughout this creative project I focus on (dis)ability to (re)collect, memory, value of ones personal belonging (physical or not) as well as value of a piece of art. My work is heavily inspired by touristic tendency to memorize places one has visited by collecting various souvenirs, as well as prestigious art museum collections. ART AND COLLECTIBLES manifests in paintings, accompanied by schematic explanatory drawings and fictional exhibit acquirement stories.
Working on my paintings I tend to merge intimate imagery with evident appropriation. I create my own fictional exhibition spaces and give chosen personal memories physical bodies and display forms, transforming them into souvenir like artifacts, I display them equally with famous artworks that I “borrow” from real-life museum collections.
In the several paintings I made throughout my artistic residence in Airgentum Hoja de Ruta I collected various imagery from my travels across Spain during the past month. I appropriated well known artworks from Museu Nacional d’Art de Catalunya, Prado, Reina Sofia, Museo de Historia de Madrid etc.
I choose the form of “collection” due to a persistent tendency to own, fetishize, curate and value images, artworks and names, thus commenting on art market and culture of museums.
It is a diary, a cabinet of curiosities and a hallucinogenic obsession as it is a confirmation of one‘s existence in exact time and place.
Regardless, of its playful character this project raises the following questions:
What can and can not become one‘s personal collectible? How do we present our collections? What should be displayed and what should be forgotten?