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Installations 2017-2019

Heads-Objects. 2009-2015

Figuratives 2012-2014

Abstracts 2010-2014

Prints and Digital Prints 2005-2010

Sigita Dackevičiūtė
Professional Artist

2015 Artist Statement

Material, forms and meaning associations are the three main „pillars“ on which sculpture rests.  Life experience provides ideas and forms and the opportunity to create new combinations of forms. The energy of the creative thought spreading among them gives meaning to the form and provides it with a material shape. It is form that is always the most important, it affects the spectator by it structure, proportions, scale, material, surface. Material is a counterpart, it supports the effect of the form. Depicting or abstract, purified form is a medium of an idea. An abstract form is an opportunity to show an abstract concept in non-verbal way.

General Ideas

About ideas, philosophies and ideologies. A human being for me is an open, interactive system, an integral part of the world. He is on a crossroad of different planes and levels, transforming his surroundings and he himself is being transformed by them. Openness, contacting with environment, „interior and exterior“, their interaction and tension are the main topics of my sculpture. The ideas of separate sculptures are the variations and specifications of this topic.

Creative Process

Playing with forms, rational construction of them, dividing and uniting them to new form combinations is my main means of expression. Before a sculpture is born it passes a prolonged  process of dividing and combining of different forms into new shapes. Construction itself automatically implies preparing, “autopsy”, so various “inner and outer” motifs appear. I plant ideas into a sculpture by cutting and combining the forms anew. .From the formal point of view, the principle of a contrast is always relevant. The meaning of form and structure is the “meaning”, image of the sculpture, I attempt to speak in the “language of forms”.

Topics, Motives

”Heads”, “Figures” and “Abstractions” are the three main “receptacles of ideas”. I apply the same clear constructing principles to all of them.

Heads sometimes  have  overall “realistic” elements, but they are being divided and constructed anew, turning into abstract formations, archaic simplified shapes with different allusions. Some realistic elements are introduced to fit into the overall geometric structure and rhythm.

Acoustic sensations (2012) turns into an abstract helmet hiding the inside, while the only overt recognizable sign is the ears, an allusion to a subtle ability of hearing. Ears also point to an ancient oral culture when voice and hearing were primordial means of expression and communication, before writing (and with it science and contemporary culture) came into being. This level is the basic, primeval, fundamental in us.

Abstract ideas (2012) is an attempt to depict something that has no external form and the only means to express such ideas is also via allusions. Movement of thought is expressed via moving of different hook-shapes on a helmet-shape head.
Nuclear Head (2012) expresses the contrasting link of recognizable human and technical forms which expresses the confrontation of a man and technological opportunities full of tension. The main idea of this sculpture is that all what human being expresses outside, has its origin within: ideas, adventures, undertakings, inventions, intentions and projects are being born first of all in his mind. All these can be positive, creative and protecting or devastating, destructive, damaging the environment and the man himself. 
Man can undertake to exploit the resources and energies which later slip out of his control and can lead to ecological disasters for him and nature.. In this sculpture human forms are combined with the technical forms, and a human head turns into a container for a „nuclear head“, its carrier. It is a polysemous, multifaceted symbol. We sometimes say about an energetic, creative person: he is an “atomic“ man. In this way we want to stress his drive, creativeness, dynamism, huge potential and capability to do a lot. But there is always a possibility to use the potential and resources irresponsibly, carelessly, that may lead to unpredictable consequences to environment and human being himself. The sculpture provokes a spectator to think over and to reconsider the consequences of his own activities in the today‘s world, to ruminate on the problem of tension between humanity, careful attitude to environment and technogenic civilization in the philosophy of existence of the modern man. 


One example of “Figures”-series is represented here by a piece of sculpture Between Yesterday and Tomorrow (2013). It is a complicated composition, an attempt to depict an intricate combination of several processes. Human figure is only a flat silhouette in the space, a flat clipping, a vector line representing movement forward. “Present” is represented by an movement spreading across in respect of a vector line, a movement “unscrewing” from the inside (the scheme is spiral movement from the centre), it is framed by two sides of a figure. A figure spreads at present from its centre, that present is constantly pinned on a vector carrying to the front.


An abstract sculpture presents some idea in purified shape. The Sphere of Expanding Influence (2012) was born as a result of formal attempts to create a sculpture of ovaloid form. The key word here is „sphere“, an allusion to the spheres of action or knowledge nowadays.

Time Capsule in 2010 received a nomination as „The Best Small Sculpture of the Year“ (Exhibition „The Sculpture of the Year '10“). Time compressed into a small tube, it has a shape of some cartridge or bomb, an allusion to the condensed energy of history where dates could represent some outbursts of energy.

Time Reel (2014), grates moving in a spiral are symbolizing Time, efforts to count it and the process as the main feature of everything.

2014 Interview:

ARTiculAction Art Review, December 2014



Artist’s statement for the TABE exhibition 2008

For a few past years my attention was focused on a human face. What I am interested in is not an external likeness or moods of a separate person, but the possibility to encode wider meanings. The work “Interrelationships” expresses the idea of the invisible relationships, links and bonds between people; the contacts and intertwining of different inner worlds, the exchange of thoughts and feelings, mutual influence and sharing. I used different techniques for this series. The last was woodcut. Woodcut didn’t allow fulfilling of realistic details and the work turned into a play of decorative patches creating an intricate pattern, as if a distant echo of the reality.

“An attempt to rise up” – this idea appeared in a flash as a repetitive rhythm of jumping figure. The movement should symbolically express the idea of efforts, the notion of overcoming obstacles such as the gravitational pull, the weight of the body, physical and spiritual inertia and sloth. Repetition of the same figure in the same movement should repeatedly imprint the idea of arduous and persistent efforts to overcome boundaries and limitations and at the same time it turns one’s attention away from the physical reality into the inner realms of human personality. The technique of drawing on a plate (dry point) allowed achieving quite detailed figure expression, intertwined lines; it also allowed drawing easily one figure onto another underlining the symbolic character of the print.

The digital print “Identity” is one of the series on this subject. The question of identity “who am I?” from time to time occurs in the mind and makes me play on this theme in my prints. How much a human face as an “artistic image” can tell us? What can a drawing as an artistic means say to us about a person? Can it convey not only the external or the mood, but also some social interrelationships, intellectual, philosophical or spiritual connotations? A digital print allows putting one layer onto another easily thus creating a multiplex, dense rhythm.


Statement of the artistic process

Who can say how a print is born? How does this intricate play of lines, patches, images and colours create itself in the imagination? What is the first impulse for the composition to be born?  There are so many constituents making a print professional, interesting, attractive, unexpected, and apparently new, affecting the observer.

My goal is not to go merely into an external play of colours and forms, not to stop on just realistic representations, but to create a meaning and to make it effective, balancing on the edge between the realistic recognizable images and a sort of “generalizations”. Artistic process is making efforts – sometimes within self-imposed boundaries, sometimes breaking through, beyond any limitations. The process itself is as creative and unexpected as the result. Real life images are the source of the richness of forms, lines and colours, but they are only a material for creation of meanings, connotations, associations, hints about our multilayer multifaceted complicated reality, inner and outer.


Artist’s Statement for the TIBE exhibition 2006

Do we understand  the signs sent by other people? There are always mysteries, misinterpretations and vague elements in our communication, since every being is a complex, multifaceted world, hardly subject to our complete understanding.

The series “Human signs – letters” are the works of one period when I was interested in signs or marks left by a human being – the imprint of a human hand, one’s handwriting, personal objects, photos, separate words or phrases associated with broader meaning of one’s inner world and relations with other people, etc.

These two prints are the dynamic, rhythmic arrangements of signs in space, laid out into an unexpected mosaic which evokes additional associations, such as movement, repetition, reiteration, shielding, etc.

They remind of ancient imprints in caves or characters of ancient writings, that are impossible to read today and which speak in  their silent, but so expressive language of rhythm and color. They are seldom comprehended by our reasoning, but frequently perceived intuitively. This is a combination of comprehensibility and incomprehensibility.
Dynamics and rhythms developed on the space of the sheet of paper resemble the development of human life. Sometimes it is slow and pensive drift along the horizontal space expressed in an original and intriguing rhythm, sometimes it is swift and vigorous  dash upwards

The “Series” is a continuation of the series of female faces. The same face repeated many times, placed differently in space, hided and revealed by covers, merging and coming up again. It is a reflection on inner states of a woman and the relationships between her inner and outer world.

This last piece developed into a series of faces. The principle of repetition in this work is not the expression of different aspects of the same person, it acquires the meanings of social relationships, the aspect of the role and place of a woman in the present society.


Statement of artistic process

Human signs started with drawings. Pencil is the material the least resistant to the artist, it is sensitive and precise, easily giving in to the vicissitudes of the thought. The next stage of artistic work, different in quality, was applying computer technology and introducing color. Computer permits swift and unrestricted  variations of color, easy choice of new combinations, which express different moods and add new connotations.

“Series” is a piece of art which was first performed  by the dry point technique, in the same way as all works of the series of the feminine faces. The computer processing allowed to enrich them with colors, shades, to add new depth and meaning.

About meCVContact meInstallations 2017-2019Heads-Objects. 2009-2015Figuratives 2012-2014Abstracts 2010-2014Prints and Digital Prints 2005-2010Texts