IDEA nr 284, 1995|
International Poster Triennale Toyama 1994, Gold Medal
Stasys: an escape from the box
In his recently published essay 'LA dictadura de
to secundario' (El Pais, August 14, 1994) Günter
Grass points out one very impprtant problem in
the world of contemporary art. He says that the
secondary overshadows the original. He states
that the whole system of art promotion in the
modern world implicates disregard for creative,
original works, which are replaced by the faceless
pulp of art criticism, group 'displays, catalogues
and other works in which the original creation is manipulated and
converted into a mere pale reflection of its form.
One might ask if creative artists try to defend
themselves against this kind of belittlement.
Speaking from my own experience. I would say
that they seem to use two different methods of
defense. They either "go underground," i.e.
withdraw and completely ignore official artistic
life. Or else they accelerate their development,
changing their personalities, styles and media so
that the critics cannot keepy up with them or write
It seems to me that Stasys Eidrigevicius has
chosen the latter as a way of dealing with the
outside world. He has done so probably because
he has already experienced the "underground"
phase in his life. He lived unnoticed for many
years, somewhere on the 'peripheries of artistic
life (both literally and metaphysically speaking).
So, when he was discovered and became known
to the art world, he chose the other system of
defense in order to protect his integrity and
During the last few years, the artist has covered a
tot of ground. He has undergone successful
transformations from book illustrator to miniature
painter (gouache) to sculptor (works in wood were
displayed in 1992 at Warsaw Studio Gallery and
his recent design for a metal sculpture.