Subject of the exhibition, which is devided in two parts, is the Still life in a wider sense of the genre. Four photographers and one draughtsman are connected with each other through the same perception of objects in their relation to space and time. The first part of the exhibition shows work in progress from Alvydas Lukys (*1958, today professor at the academy of arts in Vilnius). Earlier works from this project have been shown in the gallery in 1999. Conceptionally this project is farthermost from what we would call a traditional Still life.
The artist is mainly preoccupied with "objets trouves" which he reproduces in isolation and without any details about the sorrounding space. For Lukys himself the transitory and emotional aspect of a mostly "exhausted object" is the main aspect of his work. "The subjects of the photographs are grabbing what one doesn`t like to loose, what holdes a loss and a discovery " states the artist himself.
Not just the interpretation in terms of content about the genre is interesting, but also the choice of tools for the technical execution: black and white photo prints on photo-canvas stretched over a subframe like in traditional painting, coloured digital prints on handmade paper, framed in specially made showcases.
In contrast to the precious objects and rarities shown in the early days of the genre the second part of the exhibition - Alfonsas Budvytis (1949 ˆ 2003), Remigijus Treigys (*1961), Gintautas Trimakas (*1958), Algimantas Svegzda (1941 - 1996)- again shows more trivial or selfmade objects which can be found in nature. The fact that artists who are working with different media ˆ photographers and a draughtsman (Algimantas Svegzda) - are mainly pointing out the individuel character and the unique aura of the objects is characteristic. The object seems to be dematerialised and appears to float in empty space out of time as a centre of an subordinated system of reference to itself. If there is more than one object they are lined up or scattered and grouped as an accumulation of equal things which are forming a kind of unity.
The uniqueness of every single object can be seen as a "pars pro toto" for the whole world order. According to this interpretation Still life returns with changed contents and forms to the roots of its emblematic and allegorical depiction.
The drawings within a photographical context should also remind of the origins of the younger medium. Photography in the first place was supposed to copy nature exactly, as much as a drawing or an etching is able to do so but with much more time consuming effort.