“There is no argument with beauty and no coin that can bribe the Muse. From her childhood in Lithuania, Jurgita Gerlikaite has followed an artistic vision that has led her from her homeland, to the shining and impossible towers of Dubai and now to London’s time-stained streets.

Here in the world’s greatest city, she has created her “London Series” from the fresh perspective of a stranger in a city of a million strangers. A confluence of peoples and cultures, a merging of waters and languages where the past and present intersect in planes of light and colour, where the neon metropolis is superimposed on the face of a thousand years of history.

In this dreamlike series of beautiful images, she captures the ancient soul of London, woven from cabals and whispers, fates and futures sealed with the nod of a head, power and intrigue, the new being born in the fires of struggle and change.

The “London Series” celebrates the spirit of London, England: A hopeful look to the future, richly imbued with a colourful past.”

Jez Wolstenholme, writer & poet, UK

“By this double grasp of aesthetic excitation and cognitive depth, Jurgita Gerlikaite’s graphical art pieces are extremely exciting and competent.”

Tom Jørgensen, Art historian & author, Denmark

“Regarding her artistic origins, Jurgita Gerlikaite formerly studied Japanese Zen Buddhist art. Though exaggerated outside influences contributed to misreading the artist’s ingenious development, I undoubtedly recognize a synchronous message between Zen philosophy and her works. For example, observing part of an eye depicted in her symbolically entitled work “Matter, Energy, Space, Time” (2006), the face denotes an absence of expression quite similar to that of a Japanese Noh mask. The work is composed of black and white monochromatic colour tones characteristic of Zen painting. The “face” obviously meditates to seek “absence of subjectivity” and “nothingness” of existence. This work signifies the study of existence over representation.
We can here easily imagine the fantastic world of great Lithuanian painter Mikalojus Konstantinas Čiurlionis also inquiring into the “inner world” in a sense of anti-subjectivity. Obviously, Jurgita Gerlikaite’s arrangement of low-tone colours owes a debt of influence to Čiurlionis’ way. Making “space fantasy”, Čiurlionis ignored modern perspective and introduced Mandara-like flat composition. In the case of Jurgita Gerlikaite, her technique similarly ignores modern perspective and pays essential homage to the influence from her grandmother, naïve school painter Petronele Gerlikiene. Nevertheless, we must bear in mind that the artistic climate of anti-modernism made Jurgita Gerlikaite a super-modern artist.”

Rio Kojima, Professor of History, Chubu University, Japan

It is obvious that Jurgita Gerlikaite eagerly took over the endless possibilities of the digital techniques. They let her continue and develop the experiments she has been performing through the years within a more traditional graphic genre as woodcut and photogravure. All these experiments are related to the human world of imagination, also the visual and cognitive challenge of it. By the refined aesthetic means of the art piece we are attracted or, better to say, seduced into the world, where beside the fantastic surface basic human experiences of good and evil hides. Last but not least, the artist tackles such conceptions and terms as sin, evil, light, darkness, decline, resurrection, which we are forced to be related to, not only on the aesthetic, but also on the existential plan.”

– Tom Jørgensen, Art historian & author, Denmark

“Transparent and abstract images make it possible to see recognizable indications of the subject: a moving or motionless human figure, a face remindful of Čiurlionis or the Renaissance, a graphic ascetic drawing of veins of a leaf. Clouds, boughs, grass or a sunlit window. However, all subjects that can be distinguished and recognized are covered with delicate textures separating and dividing the image into many small fragments – each one deserving a separate meditation. This emphasis by the author on meditation space is not by accident: concentration, clarity of thought, inner peace – are the necessary assumptions to see and experience J. Gerlikaitė’s artwork. I do not say “to understand” as that is not entirely possible, neither is it necessary. The reconstructions of feelings and thoughts digitally transferred by the author to the canvas are intended for the creation of a mood, not for conveying information. To forming a metaphysical plane but not for telling stories.”

Jurgita Ludavičienė, Art critic, Lithuania

“It is claimed that the new digital techniques either are too simple, too little physical or too shallow. Jurgita Gerlikaite’s compositions prove the opposite. In her hands, the digital process transforms from means for a playful experiment into a place for existential and metaphysical contemplations not losing a thing of the absolutely visual excitation.”

– Tom Jørgensen, Art historian & author, Denmark


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