PANEVEZYS.- Mikalojus Konstantinas Čiurlionis’s unique work has become an example and a source of inspiration for many generations of artists. However, the creative relationship between Stasys Eidrigevičius and Mikalojus Konstantinas Čiurlionis is different. Having grown up with reproductions of Čiurlionis’ works since his school days, Eidrigevičius nurtures a special relationship with this icon of Lithuanian art. He sees Čiurlionis as a kindred spirit. He pays him respect and gratitude for the fact that he is not alone in seeing the world in this way. Owing to a similar sensibility, Eidrigevičius engages with Čiurlionis as an equal in his creative practice. Understanding Čiurlionis’ work requires a deeper, sometimes even transcendent, perspective appreciation.

While Čiurlionis’ work is rooted in nature and the world of fairy tales, Eidrigevičius tends to depict the world in a grotesque manner, revealing its absurdity and paradoxes through figures and objects. Nevertheless, the works of Eidrigevičius and Čiurlionis are close in a visual sense. Both employ similar techniques: pastel, tempera, watercolour, and pencil. They share a minimalism of imagery and a transcendental ambiguity of meaning. Figures, objects, animals, and birds become signs that convey more than what meets the eye. Perhaps this is why both Čiurlionis and Eidrigevičius are particularly valued and understood by Japanese audiences. Eidrigevičius’ courage to create according to his own vision of the world opened doors for him in the art world at large. His name is known from West to East—from the USA to Japan.

The relationship between Eidrigevičius and Čiurlionis deepened over time, culminating in Eidrigevičius choosing to express this connection through the medium of art. For the first time, he exhibited several works dedicated to the great artist at the Hommage à Čiurlionis exhibition held at the M. K. Čiurlionis Memorial Museum in Druskininkai in 2018, which later moved to the M. K. Čiurlionis National Museum of Art in Kaunas.

At the Stasys Museum, the artist pays tribute to Čiurlionis by exhibiting a much broader range of works. While there are no direct repetitions of the Čiurlionis’ pieces and the themes differ, viewers sense a shared worldview between the two artists.

Like Čiurlionis, Eidrigevičius has a deep affection for letters. He not only highlights their calligraphic form but also incorporates them into drawings. The portrait-like letter ‘S’ in Eidrigevičius work often serves as a unifying element of the composition, while the letter ‘Č’ underscores the kinship between Eidrigevičius and Čiurlionis. An important highlight of Eidrigevičius’ work is the series of drawings made on a 2009 Čiurlionis sketchbook, published by the Lithuanian National Museum of Art and featuring Čiurlionis’ sketches. These works—mostly rendered in pencil—capture impressions from his travels. In these sketchbooks, the artist does not shy away from drawing over Čiurlionis’ portraits, as if playing, engaging in dialogue, or continuing the great creator’s own strokes. Eidrigevičius identifies with Čiurlionis even more deeply by using his works to create masks. The exhibition is further enriched by works in the technique that Eidrigevičius has recently favoured—photographics—combining photography with computer drawings.

Eidrigevičius converses with Čiurlionis both in life and on his creative journey. In the exhibition Hommage à Čiurlionis, the dialogue between these two geniuses is revealed with striking clarity.