Bigindicator

Paulius Nosokas

Profile  |  Artworks  |  Exhibitions  |  Network  |  Comments
1
Sunday afternoon, 2006 Acrylic on Plywood 213 X 61 Cm
3
Tsunami, 2005 Acrylic on Plywood 213 X 61 Cm
4
Moving shadows, 2005 Acrylic on Plywood 213 X 61 Cm
5
Lipsticks, 2006 Acrylic on Plywood 213 X 61 Cm
6
Weekend, 2006 Acrylic on Plywood 213 X 61 Cm
45projects-g2
45projects-g3
45projects-g1
45projects-g7
45projects-g4
45projects-g5
45projects-g3
Paulius_nosokas_1
France or Holland?, 2006 Latex Acrylic on White Oak Plywood 213 X 61 Cm © 45projects
Paulius_nosokas_2
Weekend, 2006 Latex Acrylic on White Oak Plywood 213 X 61 Cm © 45projects
Paulius_nosokas_3
Edge, 2006 Latex Acrylic on White Oak Plywood 213 X 61 Cm
Paulius_nosokas_4
Escaping Sao Paulo, 2007 Latex Acrylic on White Oak Plywood 213 X 61 Cm © 45projects
Paulius_nosokas_5
Tsunami, 2005 Latex Acrylic on White Oak Plywood 213 X 61 Cm © 45projects
45projects-ex2-5
Works from the series "rotate / repeat / scale / move / subract" Acrylic Latex Paint on Oak Plywood 84" X 24"
45projects-ex2-2
Works from the series "rotate / repeat / scale / move / subract" Acrylic Latex Paint on Oak Plywood 84" X 24"
45projects-ex2-3
Works from the series "rotate / repeat / scale / move / subract" Acrylic Latex Paint on Oak Plywood 84" X 24"
45projects-ex2-4
Works from the series "rotate / repeat / scale / move / subract" Acrylic Latex Paint on Oak Plywood 84" X 24"
Paulius_nosokas
Quick Facts
Birthplace
Lithuania
Tags
modern, abstract, gallery
Statement

My Unity/Themes

I believe that finite moments of contact—even a single, well-considered gesture—can generate an infinite number of visually compelling forms. Hence, you'll see that, no matter what medium in which I am working, there is usually a very simple gesture or design structure at its core. Sometimes I multiply that gesture until I feel it reaches a sense of critical mass, a 'tipping point' (as in my computer-aided paintings like the 10-Second Experiments and Moving Forms animations). Sometimes I isolate the gesture and present it in aggregate (as in my Exercises and other videos); sometimes I freeze the gesture and present it in series (my photographic documents of Light Forms); and sometimes, behind the scenes, I fuse my limited-time contact with materials and surface into a poetic whole (as in my minimalist paintings in acrylic on plywood). No matter the approach or medium, my process or materials, however, you'll notice that what I'm after is a gentle irreducibility; a place where a work of art is no more than what it seems to be—and yet, is more than the sum of its parts.

 

My Process/Materials

I like to work with what I have at hand—"at hand" often implying materials readily available in a hardware store: flash lights and other hand-held fixtures; acrylic house paint and plywood; a computer illustration tool distributed for free over the Internet; and, of course, the simple equation of myself, and my camera, and my tripod alone in a room. I generally limit my initial contact with my chosen materials to a finite period of time—sometimes as short as a few seconds—and let either chance or a later editing process take over. Let me add that "Play" and the embrace of the random is also such a key element in my work that I feel compelled to list it as a material.

Slideshow

Light + Time = Form (video)

rotate / repeat / scale / move / subtract

10-SECOND EXPERIMENTS

1 BILLION LOVE MESSAGES

RANDOM >< MOTION

Exhibited with these artists
Paulius Nosokas has Exhibited with these artists:

Exhibited at these venues
Paulius Nosokas has Exhibited at these venues: