I Knocked On The City Gate

Technique: Acrylic on canvas, 2019
Dimensions: 70x100 cm

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The painting presents a rich texture and a dynamic interplay of colors where stark, bold red clashes and overlaps with subdued shades of black, white, and gray. The overall composition is abstract, characterized by sweeping, broad strokes and finer, delicate lines suggesting motion and intensity. The bright red appears almost as a sudden intrusion or eruption in the otherwise monochrome palette, drawing the eye immediately. While the title suggests a narrative of knocking on a city gate, the painting itself leans into an abstract portrayal that captures more the emotion perhaps of anticipation, chaos, or even rejection, rather than a literal depiction of a city gate. The use of gray and black might evoke images of stone or metal, perhaps hinting at the solidity of a gate, while the white and the way the colors are smeared and blended could imply a fog or mist, adding an element of mystery or uncertainty to the scene.


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Dalia Kirkutiene's work is vigorous and expressive, and the most important thing for her is to convey a feeling and emotion. The task is not easy, but the artist undertakes it with enthusiasm. After many years of exploration, the artist turned to abstract painting and discovered the technique of pouring, which is so well suited to convey the intangible. Pouring paint may seem simple at first glance - in fact, playing with chance and controlling the flowing paint requires great skill and intuition. The patterns of paint runs have already become the artist's signature.

To purify the idea, the artist chooses a minimal colour palette; when colours are abandoned, the focus is on the original composition, and when they do appear, they play an important role - they become the main carriers of the message. Other important codes are contained in the title and in the occasional outlines of recognisable shapes that appear in the works.  However, these are only indications for the viewer's interpretation - in this way, the author tries to avoid banality and clichés. Kirkutienė herself says that she does not like prose in her paintings and prefers the freedom of poetry, preferring to convey the desired impression and emotion not with a concrete image, but with colour and verbal associations.

The dialogue with the viewer is extremely important to the artist - in the eyes of the viewer, the work is  reborn. Therefore, the artist does not want to impose anything on the viewer, because the most important thing is what the viewer himself sees in the work, what he finds in it that is close to him, and no one can say that his interpretation is incorrect.

The author is a graduate of the VDA Textile Studies at Kaunas Faculty. Now lives and works in Klaipėda. She is a member of the Lithuanian Artists' Union.

The largest project is nearly 200 paintings for the Pacai Hotel.

Exhibitions at ArtVilnius 19, Berlin, Paris and more than 30 in Lithuania.

Lithuanian Artists’ Association Member

Lithuanian Artists’ Association Member

This artist was acknowledged by the Ministry of Culture of the Republic of Lithuania

This artist was acknowledged by the Ministry of Culture of the Republic of Lithuania