based artist examines Socio-Psychological Repression Mechanisms underlying the conditions of uncanny. The ambiguous translated in to physical form in order to psychically experience the metaphysics of distress. The artist chooses different media – installation, sculpture, painting, intuitive theoretical and physical strategies in order to reveal mechanisms of anxiety within creating and destroying structures.   



On 4th of February exhibition “I I” of artist Eglė Grėbliauskaitė was opened in project space “Kabinetas", with an open discussion concerning the conditions for creation of meaning and art perception. The moment of birth of a new way of reading is vital in the exhibition “I I” of Eglė Grėbliauskaitė, when an object or the chain of objects experience a continuous reconstruction.

Anxiety is a constant feeling of ambiguous threat. The threat is similar to madness, schizophrenia, I see it in the usual things, familiar and strange faces, locations. It's like knowing that potential threatening scenarios, and the demon agents are "gathered" around and watching my life.

Their “disease” opens suddenly as if I recover my sight for a moment, but then the image returns to normal. However I already know "their" secret reliance to the demon world. It is a bit like a dream or delirium.

My heroes like an increasing number of items in collector's album, form new threatening possible event combinations with each.

I know, that I have to watch “Them” too. Somehow I believe that my observation does not allow them to "act”. It is an attempt to document the invisible, to find cracks, over the negative matter. As much as I am anxious, I am also constantly drawn to it.

I want to pull out those demon secret agents of the metaphysical, "secret " area in to the daylight (the canvas), therefore I paint their portraits.

I want to look them in the eye. I want to expose "them.

I try to describe "them" realistically, clearly, without unnecessary embellishment, and sentimentality. But then I notice that they hid again...

I am left with just my knowledge, but nothing to be shown to prove it. I am still looking for the traces of my knowing about “them”.

I should like to call anxiety a repression. Not only because of its distressing and unyielding faith efforts fashion – I see the concerns derive from specific social and psychological mechanisms of repression.

Those mechanisms are constantly present, calm, casual, slightly exalted, but cold at the same time - almost motionless, as if hiding behind their own signifiers.

“It is for your own safety/good!" kind of repression is so pervasive in the form of a whole that is leveled behind “the best existing alternative” notion. It becomes a natural an integral part of the everyday landscape. Leaving anxiety a mare internal detector or signal of the discomfort.

I explore ambivalent relationship with the everyday elements, on the one hand when things are obvious in their form and space but on the other - hiding contradictory opportunities, which, by its mere existence arise a worrying doubt. However, this hidden is revealed as a condition for the image to be seen and experienced in general. The form of the object becomes just a marginal category from which one can lean against just to explore the dialectics of knowledge trust and belief.

Grėbliauskaitė depicts the gaze of the world described by Lacan, who first realized it when watching a can of sardines at the bottom of a lake. Macabre hunting of demons by catching them in an image that can be destroyed was rampant in medieval times as well. It should have been a reminder of tortures of Hell. But this is a fight, an attempt to grasp an ambiguous uncanny and bothersome gaze.

In the era of vision’s reign, artist’s behavior is not an anachronism – on the contrary - it is a natural reaction. Although it is a bit fearsome… But, for example, Hitchcock believed in therapeutic function of horror and thought that being scared can also bring pleasure. When it ends happily, of course. But, in this case, no one is promising a happy ending. It is a different exercise – its an attempt to document the invisible, to find cracks through which the negative matter is seen. Perceiving the paintings as a sequence of frames of the film, I could say that we get a story that is quite mesmerizing and horrific.

Monika Krikstopaityte

“THE SWILL”, ARTVILNIUS'16 Contemporary Art Fair 2016. LDPE, metal, 9x9x5 m.

“TRIUMPH ARCH”, 2016. Independence square. Next to the Houses of Parliament, Vilnius

"Triumph arch" on Independence Square in Vilnius, next to the Houses of Parliament, built at the parliamentary elections. Built from pressed Low-density polyethylene (LDPE) waste and metal constructions, 7 meter high, 27 tones of weight, constructed on 06.10.2016, lasted only 1 day. After the threats of VAD (at Ministry of Internal Affairs), "Triumph arch" was dismantled on 2016 10 07. According to the Vilnius Municipality approved procedure 1 day arch stood legally. In the request for a longer exposure of the artwork Vilnius City Municipality within the prescribed time limit of 20 days, did not provide neither positive nor negative answer.


“C30/37-XC3-CI0, 2-D16-S3, a new good floor for Titanic”. Vilnius Academy of Arts, ground floor exhibition hall Titanic, 2016. Concrete.

Vilnius Academy of Arts exhibition halls are situated in an old printing house building, which Academy renovated and put ochre tiles on the floor on top of original concrete floor. In the architectural plan it stated, that a good floor will be installed. Artist ripped out those tiles and installed a concrete floor in order to get rid of unnecessary cultural layers that Academy became covered with.

“I  I”, Kabinetas, Kaunas, 2016.

“KOMBINATAS”, main Vilnius Art Academy building, Maironio 6, Vilnius. 2015

Egle Grebliauskaite Installation ‘Swill’ talks about excess, waste and plastic in a wider sense of this word. Installation form resembles a toy above child’s bed that hypnotizes and lulls into the sleep.

Installation made from compressed low density plastic trash cubes, connected by 9 meter metal tubes and hung 3.5 meters above the heads of spectators.

A theme of society living in a constant state of object production that creates “the swill” is examined. Plastic objects circulate in an excess market such as leftover plastic bags. Society is being lulled by and in to this overproduction process which is carried by its participants who are themselves also immersed in it without comprehension of such process anymore.

Installation being displayed in art fair works as critical comment on commercialized art market today.

I found those letters on the roof of a defunct meat factory at the end of Savanoriai street. Even though it is empty now, the factory is still imbued with the ten-year-old past. I could almost hear the roar of these cutting and mincing machines—from the outside one would not be able to tell whether they are still operative today… Once you enter the meat factory system, you can be sure that you will be processed properly… And you will leave in peaces…

“MONITORING SYSTEMS” in an exhibition “BLACK ROSES”, Jonas Mekas Visual Arts Center, Vilnius. 2015

“THEY HAD THEIR TOOLS TOO”, 2015, oil on canvas.

“THEIR TOOLS WERE SILVER TOO”, 2013, oil on canvas.

“MĖTOO”, installation, ready made letters from Soviet meet factory in front of  main Vilnius Academy of Arts building, Maironio st. 6, Vilnius, 2018,

for National Emancipation Day, February 17, after multiple cases of #MeToo outbreak in Vilnius Academy of Arts. Academy rectorate did not allow the installation to take place, therefore it appeared laid down on the snow just for the weekend - non opening hours. Emancipation day activists visited installation and lifted letters up standing for a picture.

“MĖTOO”, mobile installation, ready made letters from soviet meet factory. A protest for women rights. March 8th 2018, Cathedral squaire - independence squaire, Vilnius.