The Sea Throws Amber

Technique: Acrylic, bronze, canvas
Dimensions: 100x180 cm
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The painting portrays an abstract seascape where a tumultuous ocean meets a tranquil beach. The top section, dominated by a deep blue tone, suggests a vast and restless sea. Streaks and splashes of white and gray across this oceanic expanse evoke the churning motion of waves, with some areas appearing frothy and others more submerged and dark, hinting at depth and underwater currents. The relationship between the sea and sky is ambiguous, blurring the boundaries between them.Below, the beach is rendered in sandy whites, pale yellows, and soft beiges, suggesting a shoreline that is both calm and expansive. The transition from sea to shore involves delicate blends and overlays of color, with patches that resemble wet sand or foam left by receding waves. The texture across this middle zone has a tactile quality, as if inviting the touch to feel the moist surfaces and gritty textures of the beach.The lower part of the painting includes a dark, undefined strip, perhaps signaling the very edge of the shore or the shadowy underfoot areas where water meets land. Throughout, there are subtle inclusions of other colors and grid-like patterns, adding complexity and perhaps hints of human presence or influence, like nets or footprints interspersed among natural elements. This layering creates a sense of depth and mystery, leaving elements open to individual interpretation. The overall mood is one of natural dynamics, capturing the essence of the sea with its tranquil yet ever-changing nature.

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Painting in the interior
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Artist

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