In the fantasy of a moving silence
It is in the heart of an impenetrable forest that we met with the
work of Egle Babilaite... A quality of environment necessary for the
vitality of its creation, whether at the edge of the Baltic sea or at
the gates of the Provence. Escaping, without denying it, the rigorous
academic training acquired in her native Lithuania, Egle quickly became a
mobile and traveling artist. Her journey started in Vilnius and passed
by Kaliningrad, Reykjavik, Sachnas, Nida, Brussels, Strasbourg, Carros,
Monaco, New York, Ahrenshoop, Hong Kong, Milan ... A form of claimed
cosmopolitanism joining the plurality of references, direct or indirect,
that inhabits her works. The Creation of Adam by Michelangelo, a
Madonna and Child by Robert Campin or the plan of an Orthodox church can
indeed invite themselves in a work that is willingly monumental, with a
strong autobiographical accent.
If the viewer likes to find here and there some pop echoes, materialist or psychedelic, the shapes and the colors take care to recall the inspiration, assumed, of the painting of the Flemish Primitives. This opening in space and time joins the vast catalog of gestures implemented: drawing, modeling, molding, glueing, crumpling, repeating, painting and drawing again, to a state of drunkenness... Egle favors large formats, most often on the classic support of an encased canvas, welcoming, beyond painting, the most diverse materials. Enriching a bright and rich colorful palette, the gold leaf contributes to the ornamentation or architecture of her figurative compositions. Spectacular feature of the work of the artist, the relief seems to accentuate (by tinting "on" or "hyper" notes) the realism without shoreline of the representations, multiplying the contrasts and materials effects.
Open windows on a phantasmagorical imagination, her paintings translate a "silence full of movement and anxiety", as rightly emphasizes her twin sister Ieva Babilaite, herself visual artist, author of a work as opposed as complementary to her own, breathtaking of intimacy and depth, minimalist and memory-based. Without pretending to be gentle, Egle pursues astonishment at the bend of daily routine, to reach the point that touches, that fills and disturbs in its capacity to transform the reality of the moment yet to come. Linked to the world of childhood, nourished with dream fantasy, this singular creation lies on the edge of the great waymarked currents of the contemporary scene and bypasses in its own way the shackles formed by schools, styles and borders.
Loyal to the reassuring mutism of the fish guardians of secrets, as well as to the sharp gaze of countless birds, which she stages, Egle transfigures bodies and exalts, from a substratum where life and death become accomplices, the meaning of human gesture. Thus she tries to transmit, since her workshops in osmosis with the nature, a message of fight against the aggressiveness and the violence, according to ways that it will be up to everyone to appropriate.