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CHIMNEY SONATA II
Photography to me is the revelation of the code of existence. It is not necessary to note it. The most important is to reveal it. Perhaps this is why the existential principle of my photography is to capture and transfer on a sheet the invisible essence of a visible form, to touch the existence or to render it some playfulness.
I believe that the purpose of elite photography is to disclose transcendental subsistence lying in object or nature instead of copying banal daily routine or icons of nature.
It is important to find abstraction in nature (to find, not to search for!) and through a certain expression to formulate it on a sheet. Of course, namely here the form sings out as a melancholic gesture towards transcendence placed on the border of wane, a present and absent form, which has to disappear.
Namely in a disappearing form lies the secret of a thinking way of seeing – along with disappearing it remains present all the time.
Moreover, elite photography is impossible without the thinking way of seeing. It is the starting point of a road to uncommon, extraordinary state which enables to meet something that by its existence is outside the symbols of world and culture. I think and believe that the thinking way of seeing excludes the form as an index of thinking from worn daily routine and allows it to spread over the shore of transcendental phenomenon. Thus, the form as a condition of the possibility of being is feasible in natural abstraction which itself is a transcendental displacement.
Only standing in the primordial Ego point and looking through a distance into the horizon via theoretical lens of viewing, the opportunity to see transcendental phenomenon opens up. Distance as a precondition of the disappearing form is necessary for the forms to appear and at the same time to disappear in the clouds of existence...
Benediktas Krikshtanas educational background includes Master degree in engineering and pedagogy from L.A.O.A. After working for few years in pedagogical sphere, he abruptly left the field and turned to photography in middle 1980’s. Now he is a freelance artist and his most recent works involve a study shapes and forms of N.C. mountains stones and sand dunes of North America and Africa.
His photographs reveal interest to find abstract path to nature. According to Krikshtanas, abstraction, as definition, immediately removes a photograph from the realm of documentary realism, it implies imagery in which the inherent qualities of subject matter are separated from the physical object.
He feels that hand made classical photograph (now including gelatin silver) is his vehicle of choice for self expression and he has explored many creative classical avenues forms of photography: silver gelatine, platinum/palladium, cyanotype, Polaroid emulsion transfers...
Olympus Gallery, Tokyo
Fujifilm Gallery, Kaunas
AAA Asheville Area Arts Council, Asheville
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