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\nStudies, residences, awards<\/h4>\n
Tomas Marti\u0161auskis graduated from Department of Sculpture at Vilnius Academy of Arts, receiving MA of visual arts. In 2005 he was an exchange student at Academy of Fine Arts Helsinki. Since 2000 he participates in group shows in Lithuania and abroad, makes solo shows. In 2004 he received the NORD\/LB Lietuva (currently Swedbank) award. Since 2007 he teaches sculpture in Justinas Vieno\u017einskis Art School in Vilnius.<\/p>\n
\nArt Critic On…<\/h4>\n
TO RENDER OR NOT TO RENDER?<\/p>\n
The main concern of Tomas Marti\u0161auskis is apparently in converting one plastic, meaningful entity into another, though certainly having in mind that this means playing with the category of objectivity. The artist uses such transformations and plays as his main creative tactic. He starts from basics and classics: intertwines issues of his discipline \u2013 that of sculpture \u2013 with Joseph Kosuth\u2019s rhetoric of \u201cthree chairs\u201d (we may well remember here a chair covered with a piece of fabric, which Marti\u0161auskis converted into a mini-model and digital layouts). True, that in regard to form the artist pushes the above issues closer to nowadays, confining them to the narrower sphere of digital technologies, or to transformations of sculpture as a 3D object (of virtual sculpture in the broad sense).<\/p>\n
According to Marti\u0161auskis himself, everything starts from an object. Be it a chair, fabric folds, or a piece of clay clenched in a hand. The piece goes under 3D scanner; the output \u2013 a digital code \u2013 can be converted in various ways and rendered into different shapes \u2013 visual, textual, etc.<\/p>\n
That is to say, the material resistance, the \u201cpositive\u201d and \u201cnegative\u201d relation between sculpture and space functions here rather as mere idea. The major part of conversion (transformation) labour is done by computer, and only after the sculptor himself (sometimes) intervenes again, yet rather as a postproduction operator: the primary object can be converted (yet again) into a text file, number sequences, or a soundtrack of a Mac speech synthesizer reading them. Sometimes the object comes back to more or less physical shape \u2013 the clenched clay piece, or rather its digital version, is \u201crestored\u201d manually, drawing an endless vector sequence on a wall or installing a tangible plastic object in a gallery, only, for instant, enlarged to the optimal scale 1:34. Marti\u0161auskis places the object, or let\u2019s be precise its digital characteristic into different coding systems and obtains this way different shapes of it (or of its idea), although \u201cobjectively\u201d they all represent the very same object. One can say Marti\u0161auskis consciously restrains authorial functions and definitions of sculpture, giving them over to the mechanical logic of computer.<\/p>\n
K\u0119stutis \u0160apoka<\/p>\n
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Curriculum Vitae <\/a><\/strong><\/p>","protected":false},"excerpt":{"rendered":"","protected":false},"author":4,"featured_media":1292,"parent":24,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"yoast_head":"\n\n\n\n\n\n\n\n\n\n\t\n\t\n\n\n\t\n\t\n\t\n
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