Myths And Popular Assumptions About Artists And Their Work Unmasked

The object of painter Egle Karpaviciute’s artistic research is the world of culture, above all, visual culture and art. The main motifs of her works are artworks and exhibitions, art institutions, art events, and portraits of art figures. In her canvases, the painter explores the history and present of art. Rather than being a passive observer, she becomes an active participant of this process, not only capturing the depicted scenes, but also directing them. In her pieces we recognize lots of famous people like Queen Elizabeth II, Freddie Mercury, Neo Rauch, Francis Bacon, Marcel Duchamp and etc. The image-building principle akin to reportage photography enhances the (pseudo) documentarism of the images and the supposed reality and urgency of the events. The photographic character of the image is amplified by ascetic visual expression – restrained and subdued colours, a thin layer of paint. Thus the artist conceptualises painting as a means of expression, and analyses its nature and development, as well as its relation with other media.

Karpaviciute focuses her attention on the position of an artist on the art scene and behind it. Exploring the image of an artist, she reflects on the artists’ changing stance in society and the art world, and unmasks the established myths and popular assumptions about artists and their work. She mercilessly and somewhat provocatively lays bare the creative process, stripping it of poetics and muses, and revealing its invisible side to the audience. The artists, curators and gallerists represented by the painter are extraordinary figures of the art world; their authority is both recognised and ironically put under doubt. Beside them, the painter inserts her own image, thus as if considering and assessing her own place in this field of power, and wondering if an artist’s authentic voice can still be heard in this play of influences. You can read more about history and plot of the paintings in the descriptions near the paintings.

More info: roostergallery.eu

Lucian Freud’s portrait of Elizabeth II becomes a part of the body of Sotheby’s auction assistant. The painting exposes the illusiveness of the painted image.

The painting represents a scene from a fictional art auction: the painter herself is selling her self-portrait. Both the picture and the artist become the objects of art market.

The painting explores the relations between an artist and an artwork. The painting of self-portrait becomes a metaphor for becoming an artist.

The painting depicts Freddie Mercury in his stage outfit. Yet it soon becomes evident, that it is only a statue of the famous singer on the bedside table.

The painting shows the exhibition of Mona Lisa in Washington and Kennedys posing next it. The statuesque posture of Jacqueline Kennedy juxtaposes the picture, revealing the concept of an icon in art history and in popular culture.

The painting depicts the guitarist of AC/DC, yet the nonexistent date in the title refers to the deceptive nature of the painted image.

Painted backside of the picture by Leonardo da Vinci discloses the history of the artwork, though not as a famous image, as usually, but as a physical object.

The picture depicts famous British artist Damien Hirst as his own artwork, preserved in formaldehyde, and comments on limited possibilities of contemporary artist.

The scene, depicting an artist signing a contract with the famous gallerist Larry Gagosian, explores the influence of art institutions on the career of young artists.

The painting addresses the issue of authorship in contemporary art and portrays the Belgian painter admitting guilt of “stealing” the image to the stolen image itself.

The picture questions the authenticity of a glance, which is the most important instrument for a painter, and raises doubts if it can be changed.

Boxer Mike Tyson, who bit off his rival’s ear during a fight, became an inspiration for the situation represented on the canvas. In the painting, artist Damien Hirst takes the place of the rival. The loss of an ear is also an allusion to Vincent van Gogh’s cut-off ear.  The act of losing an ear becomes a metaphor of being an artist.

The painting depicts Italian fashion designer Gianni Versace reclining as an imposing antique statue. His quote in the title refers to the fictitiousness and superficiality of culture.

The painting portrays the wax statues of Queen Elizabeth II and Prince Philip at Madame Tussauds and thus states nobility as a social construct.

The portrait of Marina Abramović, framed anachronistically in vintage decorative frames, explores tense relations between historic and contemporary art.

Portraying the guitarist of The Rolling Stones with brushes instead of his guitar makes him almost unrecognizable, although he actually is a painter, too.