Exhibition time: 15 03 2019 - 13 04 2019
Venue: Gallery "Meno parkas" (Rotušės a. 27, 44279 Kaunas, Lithuania)
Henrikas Čerapas. AFTERMATH
Henrikas Čerapas’ painting collection “Aftermath” is a continuation of the “Les Exercices” series, which started after the Oct-Nov 2017 exhibition in Krakow. “Aftermath” showcases a collection of works, produced in 11.2017-01.2019, marking the painting process’ transformation and unveiling the amplitude of a desperate experience of an existential void. “Series” has an in-depth autobiographical sense, in the exhibition it is revealed also as an essential question of a present day paintings’ mutation.
From the correspondence of Henrikas Čerapas and Swiss painter Pierre Andrè Ferrand
P. A.: je rencontre une difficulté à comprendre dans ton oeuvre la raison du passage de l'image unique, qui concentre en elle une expérience du regard tout à fait singulière, c’est cette peinture-là qui me touche particulièrement, à la série, ou plutôt aux séries de peintures à répétition, (Exercices, Aftermath, ...) qui évoquent à mon sens autre chose.
Peux-tu expliquer les raisons de ce changement dans ton travail, pourquoi à un moment cette déclinaison est-elle devenue nécessaire?
I can’t quite understant why there was a transition from a unique image, which has a peculiar sense of a look in itself and is exactly the kind of painting which excites me most, to a series, precisely to the series of repeated images (Exercices, Aftermath, ...), which, in my opinion, arouse something else.
Could you explain the reason behind this change in your oeuvre, why, at some moment, you felt the need for such a declination?
H. Č.: I do not analize or search answers in myself, I don’t ask why it is this way. I used to have more time for self-absorbtion. I like this saying: “…you cannot stay interesting forever. You either fail on your own appeal, or you become a master” (from Thomas Mann). You can say that I have always worked in series, aren’t “Soils” a series? I used to give more meaning to each work, stay on it a little longer, give it a name like each work was a novel or a poem or a verse. In other words, I tried to create a unique curiosity or significance. Yet I still painted one picture, and as I wasn’t satisfied with it, I painted another. The same happens now, there is repetitiveness in this process. I just moved away from paintings’ self-absorbtion, for me, it became a filled void. Nowadays, a painting is an insignificant nothing, it’s just a fragment of Nothing, part of inertion – it has no name, it has become a generality. I no longer ask anything of it, no curiosity.