Creativity Kiosk: interview with Vaiva Kovieraitė

Photos by Brigita Kazlauskaitė

Hi, Vaiva, the first ques­tion is about graph­ics. How did you dis­cover it? What is your favour­ite technique?

I am still search­ing. The term itself is quite broad and abstract. Sometimes I like to work with as tra­di­tional graph­ics tech­niques, and in other occa­sions I want to exper­i­ment and to mix dif­fer­ent ways, to search for some­thing unex­pec­ted and new. I have always been and still am fas­cin­ated by pieces done with etch­ing and aquatic tech­nique, although recently I mostly work with silk­screen and my own per­sonal techniques.

I noticed a lot of cute anim­als in your prints. Why are they inter­est­ing to you?

Do I really image anim­als a lot? I haven’t noticed that till now. To tell you the truth, I don’t have a spe­cific or an abstract image in my head before cre­at­ing and just in the pro­cess of cre­at­ing everything starts to form. Maybe then those anim­als unnoticebly come into the blank or half blank space.

What thing would you take for a jour­ney into outer space?

A mobile phone and only because it would be use­less there.

I noticed that some­times you use note­book cutouts that are char­ac­ter­istic to the soviet times. How does the fact that you are liv­ing in a post-​soviet envir­on­ment affects you? Why do you wish to use such ele­ments in art?

I don’t really know if that fact affects me in any way. Earlier I sort of used to try to run away from post-​soviet sym­bols and sim­ilar routine images. I was prob­ably sick of liv­ing sur­roun­ded by them dur­ing my child­hood and now those things some­how star­ted to fas­cin­ate me more and more.

Do you think about the audi­ence whilst cre­at­ing? What sort of per­son is he and how does he look like? Maybe it’s a nonex­ist­ent character?

I cer­tainly don’t think about the audi­ence whilst cre­at­ing, unless the art piece would be ded­ic­ated to someone or pur­pose­fully cre­ated. The audi­ence is a nonex­ist­ent char­ac­ter dur­ing the cre­at­ive pro­cess until a cer­tain moment. Only in the final pro­cess the piece itself searches for the viewer or lets to be discovered.

What trends do you see in con­tem­por­ary graph­ics? Maybe there are some, which you don’t like?

I’m afraid that tech­nique itself might become the main part of cre­ativ­ity in graph­ics. I think that the plot is as import­ant as the tech­nique. Another thing that can be a threat (in my opin­ion) to the tra­di­tional graph­ics is digital graph­ics. Sometimes it seems that, espe­cially when artist is young, he chooses the easier and cleaner way of cre­ation and don’t want to get their hands dirty by using etch­ing, aquatic or silk­screen tech­niques. It would be a shame if these tra­di­tional graph­ics’ tech­niques would be forgotten.

Tell us what was the most enjoy­able pro­ject to work with and why?

Couple of years ago I had the chance to do some volun­teer­ing in the south of France, near the Atlantic ocean and the Pyrenees, in a small resort town of Biarritz. My pro­ject was called “Promotion des jeunes artistes loc­aux” (“The present­a­tion of local young artists”). Despite the fact that the name did no fully fit the real­ity, I had a lot of encour­age­ment, enough space and a min­imal fin­an­cing for my vari­ous artistic goals and pas­sions to express them­selves when I was liv­ing those 10 moths there. That whole time span, the four sea­sons of the year, gave me a lot of wis­dom not only as an artist but as a per­son­al­ity as well.

Kristina Alijošiūtė
About author:
Kristina Alijošiūtė
Kristina Alijošiūtė is Art Pit’s editor and blogger, also contributing in design solutions. She mostly focuses on quality and freshness of topics, but also values motivated irony and ability to stand out. Writing was always more a pleasure than an obligation to her. She also respects those who are not afraid to write subjectively. Kristina ... Read further >
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