Just like silver inlayed golden apples from the Biblical garden, like Assyrian lace, like baroque ornaments creations by Eglė Čėjauskaitė – Gintalė lead the spectator into new, based on archetypes, system of images. These are varied: thinnest silver threads, figurative, story-telling works, especially medals, and functional adornments. Still, purpose and theme notwithstanding, all of them are subtle and refined, everywhere one can feel an individual and stylish touch, emphasizing and extricating such simple and complex at the same time characteristics as texture and themes like poppy fruits or human monologues. Texture is present in a lot of works – whether it’s the “knitting” of silver threads or the treatment of the surface, its segmentation and correction. Such correction is archetype’s modification; creation of new symbols based on the existing cultural expressions, also, the strengthening of the forms provided by personal iconography.
Especially well these notions are illustrated by the “Baltic” series – there cultural tradition is interpreted individually and spiritually. From “Small Axes”, conceptual creations, where object in itself is full of archaic mythology, to “Pins”, functional and filigree, archetypal story is serving as a starting point. Such paraphrase of cultural memory provides an abundance of interpretations and works as an energizing core in miniature plastic art, which reveals long forgotten myths. These are new magical objects, talismans, signs for the body and the soul. Like reminiscences of the past, memento, reawakened and signified, brushing aside time and cosmic dust.
Mythologizing, while telling a story, is especially prominent in medals. Certain images, as if transposed from old photographs, establish in metal varied emotions, whether it’s a nostalgic vision of Samogitian crosses, a wedding portrait, a silhouette of a woman with a child, and image of a child with a bird, a motif of a drugstore signboard. Subtlety, characterizing all creative artists’ endeavors, in figurative compositions surfaces as the main feature, transfusing with illusionary images, like shadows. The medals –„ex libris“, full of existential, philosophical references, open up transcendental being of the portrayed, develop into the signification of universal categories.
Silver “laces”, so thin that it seems they don’t cast a shadow, are the trademark of the artist, presented in a variety of exhibitions. They remind of archaic mysterious civilizations, adornments used by queens, they are fragile and elegant, decorative and stylistically complex. Details – buttons, hooks, and fasteners are works of art in themselves, unevenly formed and boasting a refined texture. These nets add to the sense of being – worn as an armor, they protect and imprison. Illusionary webs enmesh in threads from which there is no desire to break free – like sirens song they enslave and enchant. They are more connected to legends and fairy-tales than to history. Ephemeral, refined works are conceptual, even though it’s possible to wear them, it can be treated as a subtle performance art. Artists’ creations in general are in that undefined zone between function and conceptuality, their evaluation concerns both spheres. But that is a common characteristic of high level jewellery.
In the same way brooches have multiple meanings, thanks to the amount of interpretations and to the possibilities of use (“Brooch with a Mystery” or “Shooting Stick-Flower”). Figurative creations, unfolding in this miniature plastic art in motives like a bird, people, poppy, lamb are associated both with the visions of the past and symbolic mini stories, where the story-telling is quite clear, even though depending on the viewers experience. Inconspicuous, shadow-like archetypes endow one more dimension. Graceful shapes in the brooch platform are treated carefully and with a virtuoso flair, without any unnecessary details, playing with texture and juxtaposition of gold and silver. Texture is almost the main characteristic, comprising the main mode of expression and thanks to its ornamentality becomes a major point in artists’ creations. The same can be seen in rings, texture supports neo-baroque attitude, connects with historical jewellery, with the influences of the 17th century, rephrased and generalized. Interesting and unexpected are her wedding rings, providing more decorative and original approach towards this sphere of jewellery expression.
Eglė Čėjauskaitė-Gintalė is working in the area dedicated to men as well – her cufflinks, which usually are asymmetrical, but presented as two separate pieces, stylistically connected, resurrect partly forgotten area of plastic art. Both abstract and figurative, they would enhance masculine clothing in a more subtle way than common rings and earrings. Especially interesting is the use of precious stones – placed here and there, as if by chance, they provide splendor and relief. The play of gold and silver also enrich abstract, amorphous shapes, as if from shells of some fantastic sea creatures.
Earrings are also often asymmetrical, while each of them – a separate work of art, but together they reveal a concept as if from a different perspective, retelling the story twice, adding and emphasizing. It’s the same mystery, but with a provision of separate “keys”. Fragile, open worked forms, light and refined, enable the wearer to feel like an exceptional guardian of that mystery foretold.
Concept and function in works by the artist are going hand in hand, that is an unexpected and surprising feature. In the smallest creations it’s possible to notice magical meanings and full specter of associations. But most important – everywhere one can feel individuality, unique worldview, and personal stories, told in distinct and original form.