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Open a larger version of the following image in a popup: Indrė Šerpytytė, Knot, 2021

Indrė Šerpytytė Lithuanian, b. 1983

Knot, 2021
Bronze, wood, paint
30cm (DIA), 15cm (H)
(EN) The artwork was created especially for the exhibition 'Embracement' (2021.09.09 - 10.23), dedicated to the centenary of the birth of the famous Lithuanian modernist artist Antanas Mončys. Like Antanas...
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(EN)
The artwork was created especially for the exhibition "Embracement" (2021.09.09 - 10.23), dedicated to the centenary of the birth of the famous Lithuanian modernist artist Antanas Mončys.
Like Antanas Mončys, Indrė Šerpytytė has turned to an organic form as a point of departure for her work Knot 2021. In this work, she has used the ‘burr’, a knotty outgrowth on trees that appears after injury or infection. Šerpytytė drew on the burr’s ambivalence: it is both a sign of intimate protection (the burr can form after stress) and malignancy (the burr can appear after a viral or fungal infection); a figure of luxury and refinement (cut and polished, burr has long been used as a precious wood) and a grotesque, cancerous deformation that is fantastical and baroque. Šerpytytė emphasises this in-between state, casting the precious burr in bronze, a material, weighty with the history of sculpture and suggestive of value and stability, while also showing the original burr itself, which she has painted with a bright palette. These playful explorations of form and material pay homage to Mončys’ practice and its rootedness in the Lithuanian folk tradition, where, like Mončys, artists and artisans worked closely with the remarkable forms found in the surrounding natural environment.
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(LT)
Kūrinys yra specialiai sukurtas parodai „Glamonė“ (2021.09.09 – 10.23), kuri skirta žymaus Lietuvos modernizmo menininko Antano Mončio šimtosioms gimimo metinėms atminti.
Indrė Šerpytytė savo kūrinio Knot išeities tašku pasirinko organines ir gamtines formas, taip atkartodama Antanui Mončiui būdingas kūrybines strategijas. Savo kūriniui menininkė panaudojo medžio gumbą – susiraizgiusią ataugą, atsirandančią dėl pažeidimo ar infekcijos. Šerpytytę įkvepia šio darinio prieštaringumas: jis gali būti tiek savisaugos ženklas (kartais gumbas išauga streso sąlygomis), tiek piktybinis darinys (jis taip pat gali atsirasti dėl virusinės arba grybelinės infekcijos), taip pat prabangos bei rafinuotumo išraiška (nušlifuotas ir nupoliruotas gumbas nuo seno laikomas tauria mediena), arba fantasmagoriška, groteskiška, barokinė suvėžėjusi deformacija. Pabrėždama šią tarpinę būseną, menininkė sukūrė gumbo liejinį iš bronzos – medžiagos, siejamos su turtinga skulptūros istorija ir žyminčios vertę ir stabilumą, o šalia pateikia ir patį gumbą, ištapytą naudojant ryškiaspalvę paletę. Šie žaismingi formos ir medžiagos tyrimai mena ir Mončio praktiką bei jos šaknis tradiciniame lietuvių liaudies mene, kuris, kaip ir Mončio kūryba, radosi betarpiškai dirbant su nepaprastomis gamtoje aptinkamomis formomis.
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