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This personal project speaks on topics such as goal and pursuit. It is a visual expression of the collected experience, which is evaluated using the idea of a hedonistic treadmill.
Series of injekt prints and drawings; Presented at the exhibitions "Sweets" (online, www.irgigalerija.lt) and "Sweet dreams" (JKC, Lithuania) |
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I turned
the heat off. Suddenly, all my problems got cold and shrank to the size of candies, so I ate them. My mouth tastes sweet. Where can I find water? |
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One of the conclusions of the theoretical paper Erroneousness of Typography in Communication states that typographic mistakes are often unnoticeable to a person in the process of perceiving a text, they are unconsciously corrected and do not precondition deliberate misleading of readers. Another study, which is also widely discussed in the research paper, states that the tests* of character recognition are often more difficult than expected. The average time of performing a text test is 9.8 seconds, and according to the research methodology (when three respondents provide the same answers), 71 per cent of the tests are done correctly. Such seemingly random observations become a starting point in this conceptual study, which aims to highlight the problems of erroneousness of typography in communication.
The observed typographical erroneousness in daily life (urban public typography) is recorded, and a catalogue of erroneous cases in typography is compiled. Each page of the catalogue is divided into 4 sections: 1) erroneous typography (resulting from processing erroneous documentation, rejecting the background (context) and colours), 2) the results showing how the computer has read the case of erroneous typography, 3) the errors that occurred after the computer has read the case are distinguished, 4) a specific erroneous place is marked where the computer made a mistake while reading. Leaflets are exhibited next to the catalogue, containing the processed documentation (excluding context) on erroneous cases of typography that are especially common in the city. The works actualise the human relation with typographical erroneousness and consider the questions: do typographical errors and visual erroneousness affect a person? Do the context and experience impact the identification of erroneousness? How does the erroneousness of typography work when artificial intelligence is involved in the communication process? * CAPTCHA - an automatic Thuringian test that distinguishes human from machine input, i.e. a character recognition test. In the context of the analysed topic, the most important are textual character recognition tests based on Optical Character Recognition (OCR) technology. A distorted, visually deformed typographic composition based on various erroneous settings is created in such a way that a person would need only minimal effort to decipher a depicted text. However, for a computer, this task is insurmountable because distorted characters, poor contrast, or additional obstructing visual elements prevent optical character recognition. Catalogue & 2 leaflets, photography prints; inkjet, digital print; main fonts: Vision, Rakesly; Personal project – Master degree at VAA KF; This work, as a master's project, was awarded a diploma for attention and relevance; This project was pressented at “Young Designer Prize 2019” (gallery “Titanic”, Vilnius) and won additional prize. |
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The main point of this work is to make the visualization of feeling caused by misinformation. This condition is desperate inability to see/perceive what is real and what is the consequence of false information. In order to visualize it, I discovered connections between the condition affected by misinformation and similar experiences causing seeing/perception disorders (nearsightedness, farsightedness, dyslexia, alexia, lexical hallucinations and etc.). Inspired by this relation, I'm manipulating typographical elements and creating feeling of invisibility, unreadability, comprehensions.
Artist's books, 2 main parts & 8 additional parts; digital print, silkscreen on transparent paper; main font: Courier Prime Sans; 25x40 cm x2 & 17,5x21 cm &8; Personal project – Bachelor degree at VAA; Part of this project was presented in the exposition of the project “Ė” of the Department of Graphics of Vilnius Academy of Arts, Leipzig Book Fair, Germany. |
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It’s a visual tour of the depicted, frequently used, made unrecognizably banal, but in my opinion, little-known concepts of happiness and success. The creation of this serie was inspired by the topics of conversations developed in peer gatherings. Conversations about everyday being are not aimed at directly solving personal problems, but still conversations have a dual effect: they force you to rethink or calm down, help you come to terms with the being. The conversations are mostly focused on the negative events, which is partly caused by the quarterly-life crisis. However, in this negative context, positive recipes for happiness and success are being imperceptibly formed.
series of prints, also published as zine; inkjet print; 25x36 cm; Project supported by Lithuanian Council for Culture. Presented at the Bilbao Design Week'21 (Atrio Edificio Ensanche, Spain); at the exhibition "Anatomy of the Human Soul" (Laboratorio del Arte del Carmen (LAC), Spain); at the exhibition "WIN WIN" (Godo, Lithuania). More about the project in the article of Kurk Kurk. |
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False memory syndrome describes a condition in which a person’s current personality and life are affected by false recollections. Such recollections are in fact incorrect, but the person who remembers them is firmly convinced of their authenticity. This phenomenon inspired me to analyse my childhood memories: is childhood photography proof of a recollection? Maybe by flicking through a childhood photo album I’m just now and here creating my childhood picture - describing what I see in the photos? If there were no photographs, would all the memories become false?
Artist's books, 2 main parts & 8 additional parts; digital print, silkscreen, reprint, on transparent paper; main fonts: Karma, Open Sans; 23x34 cm & 10x15 cm x8; Personal project; Part of this project was presented in the exposition of the project “Ė” of the Department of Graphics of Vilnius Academy of Arts, Leipzig Book Fair, Germany; |
