In 1964 - 1969, Nora Blazeviciute studied in the State Institute of Art in Vilnius. She has got the speciality of ceramics. Since 1970, Blazeviciute started actively participate in different exhibitions in Lithuania and abroad with her works of soft porcelain, clay of high and low temperatures. Creative style of the artist was formulated in the end of seventies and eighties, when strict "uniform" stylistics dogma were changed by ideas of individualism. In the society the social optimism calmed down, and in the creative art through the strict official cordons there penetrated more ironical evaluation of the ideas declared.
Blazeviciute's works from the beginning were notable for their wittiness, ironic playfulness and "program unofficiality". To the artist who models decorative ceramics for interior (hearth, walls, decoration details) and for exterior (fountains, ceramics for gardens) or prepares for the exhibitions, it is always important to make things which would appeal to the feelings of spectator. The ceramics to her is a special form of relationship: "I am modelling, because I want to communicate. While living you observe the world, share your impressions and wait for the reaction of spectators. My works do not impress those people who cannot relax and feel themselves children at least for a moment."
The artist never created socially engaged art. One of the main motives of her works are animals: hares, crows, chickens. All of them are subtly characterised and individual. Author's aim to create "warm" things makes animals and birds the humanized beings, full of erotic charm and hidden, only intuitively felt sexual energy. All of them, like people, have their personal characters and secret wishes.
Blazeviciute tries to break the stereotypes of image, sometimes even to shock the spectator rejecting the beauty stereotypes existing in our culture. This is especially evident in the series of women's torso. For the artist, every woman is beautiful: even with the signs left by age on her body, physical imperfection, and human weaknesses. Looking at those beings who do not correspond with beauty standards, but whose halo of sexuality and vitality is shining, you remember the words of Isaac. She did not agree with Sartre who said that a person after 40 had a face he had deserved, and claimed that a woman of middle age had a face, which she had a courage to show. Blazeviciute looks at the woman (at herself?) with disarming frankness - "sweet" beauty, hypocritical sanctimony are not acceptable for her. Maybe this is the reason why her women's torso reminds of sculptures of archaic deities enthralling a spectator by their creative erotic power.
Nora Blazeviciute was born in 1947 in Vilnius.
1964-1969 studied at SAI (present VAA). Ceramics artist.
1975 member of Lithuanian Artists' Association.
Head of Nora Blazeviciute's Children Art Studio.
Lives in Vilnius.
1995 Gallery Nabij. Kokengen, Netherlands.
1995, 1996, 1997 Gallery Lietuvos aidas. Vilnius.
1998 Museum of Applied Art. Vilnius.
1999 Restaurant Tati. Heidelberg, Germany.
2000 Jurgis Baltrusaitis House. Moscow, Russia,
1995 International Exhibition Distance. Warsaw, Poland.
1997 International Exhibition Terra X. Museum of Dunikovsky. Warsaw, Poland.
1998 Liberated Things. CAC. Vilnius.
1998 Five Artists from Lithuania. Kleppe Museum. Norway.
1998 Conversations. Applied Arts Gallery. Vilnius.
1998 Winter Bouquet. CAC. Vilnius.
1999 Lithuanian Ceramics. Gallery Nabij. Kocken.Netherlands.
1999 Lithuanian Ceramics. Seeschlos Ort. Gmuden, Austria.
1999 International Moscow Art Fair. Artists' House. Moscow, Russia.
1999 International Exhibition City. Warsaw, Poland.
2001 Art from Lithuania. Exhibition Palace. Haugesung, Norway.
2000 The Dish. Gallery Amatininkai. Vilnius.
2000 International Exhibition Gegenuber-Miteinander. Furstenwald, Germany 2008 Gallery De Witte Kamer Delden, Nederlands
16 x 32 x 22 cm
Bird with golden egg
17 x 22 x 12 cm
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