I borrowed the title “OR-OR” from the famous Danish philosopher Søren Kierkegaard of the past century. Danish philosopher contemplated and described this alternative “OR-OR” as both the universal human condition of freedom and simultaneously the state of freedom. According to Kierkegaard, a person experiences freedom in a choice (“OR-OR”) situation when before their eyes unfolds the possibility of unrestricted decision-making, the perspective of self-projecting, and the alternative of free choice. “OR-OR” almost perfectly encapsulates the inherent ambivalence of human nature, the constant contradiction of existence in the world.
A free person must consciously perceive the transience of themselves and the world. They must not deviate from what they seek and live, realizing responsibility for their actions, living their whole being in the present, and doing their best at that moment. Creativity, to me, is freedom, inseparable from the inner need of a human to remain themselves. Identity consists of beliefs by which we describe our personality, emphasize how we differ from others, and how we are unique. In creativity, the key is how we recognize and interpret it. The key to creativity is the desire to try something, take risks, and see what happens.
…The breath of thought. Diana Rudokienė became the background of the burnt page, reminiscent of heaven or skies. In such weightless space, you will often encounter ladies who peer through the viewer with open eyes. Look at the colors, the spectators, into the eyes of the characters, and try to guess what is happening in their souls. Or perhaps just by using the painting, the canvas, project your thoughts onto it – use the painting as a starting point for your thoughts, visions, use it as a mirror of your inner world. So, it is pleasant when there is no excess. It’s enjoyable when the artwork is open – complete, yet not stifled by four not physical but conceptual walls. And that breath of thought, I believe, arises precisely from the primacy of the image. (…)
Art researcher Austėja Mikuckytė-Mateikienė, „Dailėraštis“, 2018-10-31
