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27th October 2017
"THE EVERYDAY AS A CREATIVE INSPIRATION : DESIGNER’S SELF- REFLECTION"
Creative part supervisor assoc. prof. Jolanta Talaikytė
Various elements of the everyday life, objects and repeating everyday errands — shopping, laundry, bin bag, images of messy clothes or a child’s primitive drawing — can often become an inspiration for a garment construction or a concept of a fashion collection in the contemporary fashion design. Art project The Everyday as a Creative Inspiration: Designer's Self-Reflection analyses various and different everyday roles of the artist, and their scenography with emerging objects, which are used as an inspiration for fashion design. The project investigates methods applied for the integration of the everyday artefacts into garment construction through social and cultural contextualisation, and the use of personal experience. The method of integrating everyday life, used by both dominant and minor designers, in this analysis is defined as one of the most important methods in the contemporary fashion design field. In the garment construction, this practice often emerges through the use of methods that are characteristic to architecture or contemporary art. The practice of this art project demonstrates fashion collections inspired by the everyday experiences and created during the period of the doctoral studies.
24th February 2017
"THE OPEN WORK IN VISUAL DESIGN: A MODEL FOR PSYCHOEMOTIONAL PERSONAL DEVELOPMENT"
Creative part supervisor prof. Aušra Lisauskienė
This research aims at exploring the potential of visual design objects, based on the open work model, for cultivating human psychoemotional well-being in the field of arts.
What is behind the meaning of spoken words? Can this meaning become visible, readable and adaptable for human wellbeing? Can a visible sound unfold the meaning more broadly than just the one that could be heard? Can the work be perceived more comprehensively when hearing is supplemented with vision? When a work visualizes the voice of a viewer, who also becomes a co-author, does a viewer, who is listening to the work with her eyes, perceive it differently? And how different is this perception? Perhaps the open work, which involves a viewer into creative process, can provide an answer. Perhaps this answer might reveal the utilitarian function of the open work concept when implemented in visual design. These are the leading questions in both, practical and theoretical parts, of the artistic research in design.
The theoretical part relies on Gilles Deleuze’s “thought-image” of rhizome. The rhizomic connections join together the potential of self-realization inherent in open work, as postulated by Eco, the need for self-actualization emphasized by Maslow, interpretation of artwork through senses and its promise to “reveal more” discussed by Maurice Merleau-Ponty, psychoevolutionary theory of emotions developed by Robert Plutchik, emotional intelligence examined by Daniel Goleman, experience of aesthesis contended by Eric Landowski, and somatic aesthetics analysed by Richard Shusterman and yet remains open to join new connections.
The practical part composed from several projects that are like „rhizome‘s“ branches merged between demonstrates all main features of the open work‘s model and seeks to integrate the psychoemotial monitoring and developing into the open work's stucture.
Deima Kristina Katinaitė-Zajančauskė
27th January 2017
"THE PERCEPTION OF COLOUR PHENOMENON IN BAUHAUS SCHOOL AESTHETICS AND ART PRACTICES"
Creative part supervisor assoc. prof. Alvydas Šeibokas
The main research subject of the present dissertation is concerned with the concept of colour phenomenon in the aesthetics of the Bauhaus school. In the centre of critical analysis is the uniqueness of the colour phenomenon and problems associated with perception thereof, which were of utmost significance to the artists chosen for analysis – Wassily Kandinsky, Paul Klee, Johannes Itten and their student, Josef Albers – one of the most remarkable lecturers at the Bauhaus and later at Black Mountain College in the USA. When choosing the philosophical approaches for their colour researches, these artists have emphasised the significance of idea and brought forward the creative power of thought. Demonstrating the interrelationship of diverse phenomena of the art world at conceptual level, they stressed the significance of perception and thought, regarding the applied aspects of the colour phenomenon to be of minor importance. Hence, the present dissertation focuses on the perception of colour phenomenon, deliberately leaving the aspects of its application outside the scope of this research. It strives to present colour interpretations of different creators as a synthetic – relatively unified – theory or rather as art philosophy, bearing the same message as non-classical aesthetics. Therefore, the present research draws an imaginary line connecting the perceptions of the colour phenomenon at Bauhaus (Klee, Kandinsky, Itten), Black Mountain college (Albers) and by the Lithuanian painter Mikalojus Konstantinas Čiurlionis.
Colour projects of artists – theoreticians (Kandinsky, Klee, Itten and Albers) discussed in this dissertation might be understood and interpreted as interdisciplinary artistic researches relevant to the present day pedagogical system of teaching art subjects. They are distinguished for an original linkage of theory and practice, ways of demonstrating the tacit knowledge and an open ended question model of research, when expressive possibilities of the researched phenomenon (colour) are demonstrated through continuous improvisation. Characteristics of Čiurlionis’ colour project, namely, the emergence of relation between artistic practice and intellectual knowledge in his chromatic system, also allow treating his creative activities as artistic research.
10th June 2016
"THE APPLICATION OF LOCAL FIBROUS MATERIALS TO THE DESIGN OF ECO-FURNITURE"
Creative part supervisor prof. Jonas Venckūnas
The research of the current art project encompasses the entire ecological production chain from the perception of an ecological plant’s physical and chemical composition to the solution of producing interior eco-objects. What is more, the possibilities of manufacturing structural materials from fibrous plants in Lithuania, the structural peculiarities of interior eco-objects, the possibilities to form and produce them locally, and the types of ecological interior objects in the global market are presented.
The present art project of ecological design is created and applied to the furniture sector, which until recently was considered one of the most anti-ecological industries. By taking the said ecological problems of this sector into account, the creation of not only ecological interior objects but an ecological material itself was strived for. During the course of the present art project, an ecological, harmless, self-degradable material, which provokes innovative design forms, has been created from such renewable fibrous plants as flax/linseed (lot. Linum usitatissimum L.), stinging (fibrous) nettle (lot. Urtica dioica L.) and hemp (lot. Cannabis sativa), and patented. The said plants grow naturally in Lithuania.
In the project, the following phenomena of the manufacturing and realization of ecological products, which have become the crucial starting points in the creation of furniture designs from natural fibres, are analysed: proper usage of structural materials and fittings for furniture production, increase of energy efficiency, optimization of transport services, promotion of local materials and local production, and assurance that the product will be utilized safely or reused. This is a new niche of ecological design, a missing link in the chain of growing and processing fibrous materials and the synergy of various industries, agriculture and even medicine.
6th May 2016
"DECONSTRUCTION OF CRACKS IN THE STRUCTURE OF THE CITY"
Creative part supervisor assoc. prof. Romualdas Kučinskas
The object of the study – public spaces under deconstruction in the city which in the project are referred to as destructive cracks and are related to negative destructive phenomena. Destruction in urban spaces as a destructive phenomenon is examined in a social context avoiding the formation of destructive shapes or spaces. Relationship between an individual and destructive spaces which in the current socium are a widespread phenomenon is studied by means of a deconstruction methodology. Major attention is paid to destructive public spaces in the city. The general objective of destruction and the form of expression thereof, the impact of negativeness on an individual, the problems of existential feeling and experience are examined. Public spaces under deconstruction as the key object of the study are the most important. The study covers the public, social, and cultural aspects related to destruction in the city.
The determination of the innovative impact of deconstructed urban destructive spaces on an individual is amongst key problems under consideration. Problematic relationship between an individual and destructive spaces also is amongst the most important issues. The key problem examined in the art project covers the destructive spaces of the city and the origin, change, and interaction of negative phenomena related thereto.
15th December 2015
"THE CARPET: BETWEEN ART AND DESIGN OBJECT"
Creative part supervisor prof. Dalia Adomonienė
Theoretical part supervisor prof. dr. Ieva Kuizinienė
The research part of the art doctorate work titled THE HISTORICAL ROLES OF ARTISTIC CARPETS AND THEIR TRANSFORMATIONS IN CONTEMPORARY ART AND DESIGN analyzes the roles performed by an applied textile object – the carpet – and the means which enable a certain intellectual, psychological, emotional and sensual effect on the perceiver, and hence determine the exclusive role of traditional carpets in Islamic culture. The work identifies and defines the informational/narrative, ritual/sacral, and emotional/meditative roles of the carpet which enable the latter to function as an emotional zone. The research examines the historical artefacts which represent these roles, analyzes the ways in which they are interpreted and questioned in the works of contemporary artists and designers, and identifies the links with the themes, creative methods and technological solutions employed in the author’s personal practice. The creative project THE CARPET: BETWEEN ART AND DESIGN OBJECT incorporates the symbolic meanings of the Eastern carpets analyzed in the research work and employs the legend of the Baharestan carpet (6th century AD), which reflects how the carpet affected, through sight, the other senses as well, such as hearing, taste, smell, touch and, accordingly, the mood and emotions. This became an inspiration for designing carpets capable of stimulating feelings and emotions, and revealing the intangible value of a functional textile object. The Pleasure collection employs surface solutions inspired by tastes and smells. The Paradise Gardens carpet set brings together the ideas of the magical promised garden and the flying carpet as a mediator between two worlds. The research reflects the main aim of the artistic project: to see Heaven while looking under one’s feet.