B A LT I C J E W E L L E R Y N E W S
36 –2019
p. 80
A RTISTIC INSPIR ATIONS / LITHUA NI A N JEW ELLERY R EPORT
By Vincent KIPP
OPEN SPACES IN A To
say that the works of Karolina Šiburkytė are inspired by nature would be a grand understatement. The artist used to draw her visual impressions of the natural world in a sketchbook, but then found more luck taking photographs and giving them enough time to sink in. The images can come from anywhere, however the depths of the forests and animal realms, as well as long walks through unknown territories are what really make the difference for Karolina. The author then matures the photos to form a fluent entity, and after a while narrows a specific creative base down for a new piece of jewellery. All in good time. Having studied sculpture in Lithuania, Karolina moved to the UK to sharpen
her tools in three-dimensional design. Although both study programs focused more on conceptuality, her works very evidently possess all the functional aspects too. Still, the first thing that the majority of clients tell the author is that they resonate with the motifs of nature the most. Karolina’s artworks portray nature as a bit secretive, shamanistic, animalistic, and at times even viscous like the very bottom of a dark lake. The jeweller knows that her creations will outlive the actual plants and animals, therefore the pieces are a certain continuation of nature. The decaying natural world is brought back for a new life in the form of metal. We use metals to destroy nature (construction,
vehicles, chainsaws, etc.), however this is an authentic way to preserve it nearly forever. The word “anima”, mainly signifying the soul in Latin, also refers to air, breathing, life, vitality, and wind. ANIMA’s pieces do seem airy, however in a slightly different sense. Even if you can’t feel the gentle breeze that nature typically soothes you with, there is definitely a sense of peaceful breathing here, especially within the works that look “opened up”. The author has been a big fan of open spaces rather than concentrated urban structures since she was a child. Her pieces are far from minimalistic; most of them – at least for our imagination – seem enlarged up to the size of miniature sculptures.
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