Zita Vilutyte: The Search for Visual Balance

The holistic principle of Zita Vilutyte’ painting is based on the search for a modal connection. The expression of a unifying movement as a pretext to explain the texture of the universe as a pretext to explain the texture of the universe. Such a connection that accommodates showing great visions and strategies, ambitions and plans. And that connection is in the pictorial universe itself, in its twisting whirl, where a separate coded motif twists another motif that complements the existing motif. A leaky and vibrating theme of a joint, it flows or leaks into another vortex. The vortex turns into a cavity, and suddenly the cavity itself turns into an epicenter. It is as if the pulsation of color itself, the pulsation of a shrinking and expanding rhythm, is presented. Such a rhythmic choreography of lines, such a rhythmic, cyclical scroll of broad strokes, is thus moving towards the existing rage in the center of everything, towards the existing epicenter of the breakthrough. Everywhere we notice a certain visual epicenter. The epicenter receding from normal viewing. To clusters, coalitions, opening an ever-increasing epicenter. Such a visual epicenter, it is an expression of the beginning of an archaic arch, an expression that is already alive, has already begun, has already spread. From modernity there is a movement to the original movement, to the forgotten movement waiting for its connection. From the modern closed psyche moving to the anima itself, from the existing self there is a return to the world of connection. Feeling, sensuality, it all has to go back to its origins, to its barrels of fluidity.

Such a painting is based on a modal sense, a sense of change of the primary elements of existence, a holistic connection of everything with everything, a powerful cosmic dance, where the living goes to the dead and returns the way of color back. A modal sense, a sense of the color of the animism itself. The feeling of color is a significant, distinctively symbolic, symbolic allusion to various flow references. In references to ornamental flow, when one matrix, one symbol suddenly turns into another, becomes a complementary coding system. Such a coding system with a whirlwind, a vortex, a whirlpool. A modal sense is a reference that unfolds and spreads in bright colors. Bright and swirling colors, they do not overshadow each other, but they do not disappear in each other. They turn into a flow structure. Such a painting is the structure of the world, the structure of all defense, and the structure of all hope, the leaking freshness, the returning serenity, the unlocking and triggering, the unifying and unifying structure. In such a setup, a lot of effort, a lot of color impulse, even more the effectiveness of the color itself, its flow. The color that has come from visible and invisible traditions, from the attributes that have developed and remain in the folds of the foundation, has spilled into the visibility and shows its pattern.

The state of hanging and washing, the feeling of self-liberation, is the ornamentation of a vibrating and trembling flow. The ornamentation that remains in the open visual representations, in the unnamed universes of the concentration, that is still present, that is repeated in collective dreams and universal visions, is conveyed and presented. Visible and perceptible ornamentation that stops clutter, eliminates confusion and disruption, and responds to the visual pollution of exclusion. The bodily vibration is based on an ornamentation that responds to the cry and abundance of the world. A pictorial articulation flowing in the intuitions of the motif, maneuvering in loose times, self-sustaining vibration, maneuvering between adversity and loss, avoiding extremes. The search for a harmony of diversity vibrating and maneuvering, diving in the ocean of consciousness. The search for pictorial harmony is the search for oneness, the search for sacredness.
The whole visual mood, the full range of motifs is the mood of the feeling seen here, felt perceptibly, sounding and dancing in the sound. The mood brought together by the excitement of color of that first movement and the self-moving mover has already been introduced. If we find ourselves in that predicament, if we entrust our observation to such predicament, we find that state that is scratching or already radiant, wasting light. We find those surrounding lines, in the lines we hear the already satisfying and filling tones already presented. As long as we are oppressed, we experience that self-liberating feeling. The feeling of self-liberation is a state of purification, when the rhythmic movement of motives changes the uncoordinated and disordered, the state that has spread in the planes of action, created a circle that has already gained momentum and revolved around the world. The navigational, orientational state, when the pictorial stroke stumbles, listens to another stroke, when the soft and wide drawing is scattered, the color bar is cast, the sliver of the swaying, surrounding motif lifts the figure upwards, turns in the opposite direction of movement.

That visual balance is sought everywhere here. In a swinging and swaying world, seeking its own attraction, everything is slowly becoming inertia. The painting then turns into a task to overcome inertia. Overcoming inertia means remembering the right rhythm. Searching for such a rhythm is an endless painting exercise. Exercises of connection of painting and intuition, constantly searching for an animistic, mental, rhythmic place, soul of the world, place of anima. This place is traveled, the world is viewed from that place.

Insight wedge, washable, and cracking light wedge. The blue of the lightning, the blue of the high and deep, torn by white, thunderous lines. Then we believe that everything is controlled by linear lightning, everything is controlled by a flash of insight, a white flash in infinity blue. It is that white flash that leads the ornamentation to different, detached planes. The white flash frames the pink code snippet. The flash surrounds the rotating solar cross in its power. Leads down, climbs up, throws to the side, to other ornaments. Through the whole decaying, sinking flash, the totality of the facial features of the face begins to look at us. Against the backdrop of a flash and a brightening face, that changeable white-blue cast. Codes and matrices, signs and symbols suddenly come together. The wedge of insight itself, the cracks of insight, the sharp line of insight suddenly becomes light.

We are greeted by the rhythm of a rose, the intricate rhythm of a ring cat. The rhythm of the rose is the rhythm of its expanding pink whirlwind, its displaced red wind, its flutter, its colored plasma, the dancing of the petals. Such a rhythm, a rhythm of hot red, a burning and aching rhythm, it introduces the very rage of the ring. The rhythm of the winding of the depths of fire and passion enters the frenzy of the rose blossom clinging to the porous network. From now on, a rose is no longer just a rose. Petals are no longer just petals. Inclusive, overcoming gratitude, and forgiveness, introducing a different field of attraction. Power leading to a distant and distant beginning. Power leading to the epicenter. A whirlwind cavity, a radiant and capacious cavity of process. It’s not just a storehouse of color. At its epicenter is that yellow light, revealing, penetrating, the light that passes through the darkness of other colors, shines that dual, centered and centered light. A glowing and slow-burning light, a sunny light that has found its beginning. Which also illuminates your land through a fluff of other colors. A hurricane cover, a self-exposing, self-winding, self-peeling cover.

Expanding, accelerating, ever-increasing power of smears. The power of connection and concentration, where the earth connects with fire and light. Where connection processes take place, new processes permeate new tones. We see here the overlay of change, the overlay of abstraction. The color loop, the concentration of color gives one direction, and the response of another color moves in the other direction. The overlap of processes, the flow of rhythms until everything is illuminated in contrast. Until harmony emerges, a swinging, swaying dancing and color-breathing harmony. The connection of the floor, moving and rising from objects and phenomena, from events and adventures. A dancing and vibrating, road-marking, power-drawing floor. Abstraction of abstraction, power moving in the direction of color.

The motives of change, the playful struggle of colors are visible, they are all motives of creativity, the will of sharp impressions and the motives of reviving power. Motives of contradiction, motives of polemical colors. It all calms down in the mandala. Where the glow is twisted and colored. The filaments of the heart, when the somatic line, the physiological line weaves its network in the semantic line. When blood color is essential for flow, routes for essential duration.