Zita Vilutyte is an award-winning painter and printmaker based in Lithuania whose works have been featured in solo and group exhibitions nationally, as well as in the Netherlands, Italy, Spain, Greece, Denmark, North Macedonia, Georgia, Malta, Serbia, Hungary, UK, India, Venezuela, Pakistan and USA. Through her art, she explores the relationship between „the sign”, its properties, and narratives, allowing viewers to create or reshape their own concepts of truth while remaining in the flow.

„The holistic principle of Zita Vilutyte’ painting is based on the search for a modal connection. The expression of a unifying movement is 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.“

Art Critique by J. Dieliautas