Exhibition "Eyes and Fields. Rose Lowder and Kazimiera Zimblytė" in MO Museum
Although Kazimiera Zimblytė-Kazė (1933–1999) and Rose Lowder (b. 1941) lived and worked around the same time, the two artists never met. They were part of different contexts: Zimblytė spent most of her life in Soviet-occupied Lithuania, while Lowder has spent much of hers primarily in Western Europe. Their disciplines also diverge – Zimblytė is best known as a painter and Lowder continues to work in experimental cinema. Yet, despite their differing circumstances, the artists share a common ground: through abstract expression both ask how we see and experience the world. Three works by Kazė Zimblytė from the TARTLE collection have been lent for the exhibition.
The works presented in this exhibition contain no narrative structures or easily recognizable images. Here, abstraction is not merely an aesthetic choice but a critical position and a way of thinking through which the artists explored optical phenomena, tested the limits of their media, and reflected on their environments.
Eyes and Fields is conceived as a double exposure: the artists’ works are shown individually yet in dialogue with one another. The exhibition traces the origins of each artist’s distinctive approach while creating space for new, perhaps unexpected, intersections – where painting can suddenly appear cinematic and film can take on a painterly, even woven, quality.
Rose Lowder is a Peruvian-born artist and experimental filmmaker based in France. Since the 1970s, she has worked with 16 mm film, exploring the possibilities of the cinematic apparatus, optical phenomena, and visual perception. Her lens is often aimed at the worlds within parks, meadows, and gardens, as well as the vegetation of organic farms – linking questions of perception and representation with her concern for the ecological state of the world.
Like Lowder’s films, Kazimiera Zimblytė’s paintings are rich in optical effects. Considered one of the most innovative Lithuanian artists of her generation, Zimblytė began her career in textiles before turning to painting at a time when abstraction was marginalized within public artistic life. The works shown here reveal a distinctly textile way of thinking: abstraction is reimagined through the lens of craft, where materials and manual labor hold as much weight as ideas.
Although Kazimiera Zimblytė-Kazė (1933–1999) and Rose Lowder (b. 1941) lived and worked around the same time, the two artists never met. They were part of different contexts: Zimblytė spent most of her life in Soviet-occupied Lithuania, while Lowder has spent much of hers primarily in Western Europe. Their disciplines also diverge – Zimblytė is best known as a painter and Lowder continues to work in experimental cinema. Yet, despite their differing circumstances, the artists share a common ground: through abstract expression both ask how we see and experience the world. Three works by Kazė Zimblytė from the TARTLE collection have been lent for the exhibition.
The works presented in this exhibition contain no narrative structures or easily recognizable images. Here, abstraction is not merely an aesthetic choice but a critical position and a way of thinking through which the artists explored optical phenomena, tested the limits of their media, and reflected on their environments.
Eyes and Fields is conceived as a double exposure: the artists’ works are shown individually yet in dialogue with one another. The exhibition traces the origins of each artist’s distinctive approach while creating space for new, perhaps unexpected, intersections – where painting can suddenly appear cinematic and film can take on a painterly, even woven, quality.
Rose Lowder is a Peruvian-born artist and experimental filmmaker based in France. Since the 1970s, she has worked with 16 mm film, exploring the possibilities of the cinematic apparatus, optical phenomena, and visual perception. Her lens is often aimed at the worlds within parks, meadows, and gardens, as well as the vegetation of organic farms – linking questions of perception and representation with her concern for the ecological state of the world.
Like Lowder’s films, Kazimiera Zimblytė’s paintings are rich in optical effects. Considered one of the most innovative Lithuanian artists of her generation, Zimblytė began her career in textiles before turning to painting at a time when abstraction was marginalized within public artistic life. The works shown here reveal a distinctly textile way of thinking: abstraction is reimagined through the lens of craft, where materials and manual labor hold as much weight as ideas.