Ūla Šukytė

four layers

Installation invites to get deeper into a concept of layer itself. Whether it is an institutional layer, a cultural or social one.
The title becomes a reference to a field of layers. It is provocative and manipulative. Practically the installation is made out of four layers: the first one- the space itself, which remained untouched( I didn't move a piece that was left in the room so the broken armchair, the electrical panel, holes in the wall appear ), second one- layer of plaster which gently covers the layer under it in a form of a playground, the third layer- the line that is made of a paint which used for marking the roads for transport and last one- the marks of visitors which in time changes depending on visitors who are leaving their traces on the white paint of floor and walls. Title stops counting those layers after the fourth one, but if we get deeper we can see many more (example - the layer of knowledge which is necessary to read the work, the layer of spacial and general sensitivity, the layer of individual experience and so on)


Abmessungen : 1 cm x 1 cm x 1 cm (Height, Width, Depth)
Gewicht : 1 kg
Jahr : 2019
Material : Mixed Media, Sonstige, Installation, Gips, Mixed Media, Sonstige, Installation
Stil : zeitgenössisch, politisch, architektonisch, sozial

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three layers
The piece is a redesigned or reformed 'four layers' installation specifically for the other space (the space of library). More detailed information of the installation could be found in a text here- ( https://sculpture-network.org/en/view/artwork/7293?comefrom= ). Here the title as well as the 'four layers' work title becomes a reference to a field of layers. It is provocative and manipulative. Work is practically made of three layers. the first one-a clean,neat,strict layer of National institution in which the work appears. the second layer self-contained layer of sand which occurs on the perfectly white wall and luxurious floors. In time sand slowly falls down as is it only supported by water which evaporates slightly afterwards. This layer becomes independent from a need to manage situation of strict institution, it's slowly fades away though there is an obvious attempt to keep it constant.The third layer are marks of visitors who not only leave their traces on the surfaces and not only creates vibrations which effects the work directly but they are spreading already fallen sand around the whole space, into corridors, into outside streets and maybe into their homes. The title stops counting layers here, but we could easily find more layers (example - the layer of associations(we can find the form that resembles playground image), layer of sensibility (to feel the movement of sand in time) and so on).
Ūla Šukytė, Mixed Media, Sonstige
Sixty four million two hundred eighty five thousand tenth kilometer
"Is here a future or a past?", I was asked. My answer was :" here is present". The project is based on experience of walking. I invite spectators to feel the difference of several ground layers: the layer of the park and the fragment of layer of the city. I, as a viewer, find myself in a situation where two different layers appear. The project offers to get deeper into the concept of basis itself and to the layer itself as well. What is beyond this basis? What is above it? What is it made of? Sixty four million two hundred eighty five thousand nine kilometer is, according to statistics, a total length of the road in the world. In this project I am starting next kilometer, the tenth one, and continuing that layer of the city road here, in Oronsko sculpture park.
Ūla Šukytė, Mixed Media, Sonstige
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