Creative work by Tadas Tručilauskas can certainly be ranked as the one belonging to Surrealist or Speculative Realist movement. His works exhibited in U3M are based on the faith in existence of a higher reality ruled by the unstructured shapes of associations. Having collected a set of real experiences and dreams, the artist stacks it as a pack of cards and sets his own chaotic and postmodernist patience. Tadas breaks free from the framework of traditional genre, structure and stylistic integrity in a perfunctory manner in his paintings, juxtaposes different ideas and contexts and plays making a collage of them; the represented and not represented (the ones revealing only in his individual story) elements act in his paintings.
Stories by Tadas are deceptively consistent, surrealistic, made following the principle of collage, often unrecognizable without background knowledge, juxtaposing the events from personal life and the associations stemming from the events with different contexts, for example, artwork, artist or subculture stories or visual signs. This reflects best in the exhibited painting The Studio of the Photos of Fanny, the Model of Jock Sturges inspired by the American photographer Jock Sturges, famous for his full-sized naked teenager portrait photos taken in the nudist beaches of the USA and France. The album “Radiant Identities” issued in 1994 published the photos of Fanny, one of the models of Sturges, whom he was watching and photographing for 23 years thus documenting her transition from a child to a beautiful woman. Tadas appropriates the images of Sturges’ Fanny and transfers them to different spaces of the mystical structures of the world comprehensible to him. The field of visions by Tadas is transfused with romanticised daydreams at a time it is not even clear whether it is about the loss of the daydreams or the longing to having had experienced them at all; all layers of time glide like a kaleidoscope from childhood through experience in life and, though Tadas indicates different age of the subject, it seems like all of them flounce about simultaneously in the labyrinths of potential threats, presentiments of death, mystic creatures and different cultural spaces. On the other hand, the set of the exhibited collection corresponds with one of the statements of the Manifesto of Surrealism by Andre Breton saying that the real creative work is the mental automation reflecting the actual function of thoughts, rejecting any control by reason, and not reaching any aesthetic or moral goals. Salvador Dali called his method of the creative work the “paranoid critical method” in his “Diary of a Genius”. Dali wrote: “The only difference between a madman and me is that I am not the complete madman”. The ones who know Tadas would not allow to lie that, observations of the creative path of Tadas sometimes provoke the thought he is mad; however, the “not the complete madman” part enables him to improve obviously every time he creates a new collection and intrigue the visitor to engage and find some familiar signs in the cosmological world of dreams, hallucinations and nightmare fantasies by Tadas, even though the intrigue might seem a bit lunatic.