Casting Shadows Of Inquiry, From Self-Reflection To Universal Connection. The Artistic Journey of Visvaldas Morkevičius

“THE SOURCE” is this year’s main theme of the 9th edition of the “W Ramach Sopotu” photography festival. The festival’s organizers emphasize that it is about the source of art itself, its beginning, a specific reason, a contribution to why it is created. Where do the inspirations for contemporary photography come from? What are the current photographers reaching for? These and other difficult questions were asked by this year’s residents of the “W Ramach Sopotu” Festival. One of the participants of the Sopot artistic residency is a visual artist and photographer of Lithuanian origin, Visvaldas Morkevičius (born in 1990).

He is the winner of many prestigious photography awards: The Riga Photography Biennial NEXT and the  ISSP Gallery Award 2021, “Seeking the Latest in Photography!” (2020), The 2019 Gomma Prix Award (2020). He was awarded as a publisher by the Lithuanian Culture Ministry at the Book art contest in 2015 for the most beautiful book (Public Secrets) Morkevičius exhibited his works, among others, in Paris (2020, “Visage(s) D’Europe”), (2016 “INTIMACY / IDENTITY / CONTEMPORARY REALITIES”), Mannheim (2020 “Inner Dialogue”), Belgrade (2019 ENTER. Belgrade Photo Month).

We met Visvaldas Morkevičius to talk about what inspires his artistic work, photography itself, and why his work as a photographer is not only about reproducing reality.

Dominika Górowska: Your participation in the artistic residency of the 9th edition of the “W Ramach Sopotu” Photography Festival turned out to be an opportunity for our conversation about the contemporary art of photography. What was your reaction to the invitation from the curator, Maja Kaszkur, to participate in this creative venture?

Visvaldas Morkevičius: I was glad to receive this invitation; it was a pleasant surprise. I saw it as an opportunity to change my environment, meet new people, and create new work. Since I had never worked or exhibited my works in Poland before, I was glad to accept the invitation.

DG: The main motto of this edition of the Festival is “The Source”, referring to the genesis, the essence of art. What lies at the heart of your art as a photographer and visual artist? What influence does the entire background of the history of artistic photography and photographers who created before you have on your art?

VM: At the heart of my practice is an exploration of identity. My work often begins with an introspective examination, using myself as a prism to understand the world around me. Photography serves as a tool for expressing the reflections of these explorations. In my recent projects, I draw from psychoanalytical references and ancient myths, adding complexity to my work. I believe that the universal connection among all humans lies in our shared experiences, and this forms the foundation of my artistic expression.

Regarding the influence of historical artistic photography, it’s challenging to pinpoint specific sources, as I believe the entire artistic heritage subtly shapes my work, with certain artworks possibly affecting me on a subconscious level. This collective artistic legacy undeniably contributes to my artistic journey. 

DG: The residents of this edition of the Festival, apart from you, are Witek Orski and Anna Orłowska. You are almost the same age. Have you turned a certain common generational experience into the effect that we can see at the exhibition which opened on the first of September? What connects your works and what distinguishes all of you as artists?

VM: While each of us explores different themes and approaches, our works collectively reflect the complexities of our generation’s experiences, touching on nostalgia, ambiguity, and self-reflection. 

DG: You are considered as an artist of the young generation. You have participated in many artistic projects, let’s mention the latest ones: “Looking Forward to Meet Me” or “Smala”, you also have participated in dozens of exhibitions. Do you feel that through your art you are one of the voices of your generation or in any way express young people’s attitudes towards contemporary reality?

VM: I believe that art is a deeply personal and subjective experience and each viewer interprets it through their own lens. While my work may resonate with young people and perhaps reflect some aspects of their attitudes towards contemporary reality, I don’t claim to represent an entire generation’s perspective. Instead, I hope to spark thought-provoking conversations and encourage viewers to explore their own viewpoints and emotions through my art.

DG: You often emphasize that you’ve been photographing everyday objects, an ordinary life. At the same time you draw on the philosophical thought of Carl Gustav Jung and in your work as an artist photographer you refer to the research results of anthropologists and sociologists. My question is as follows — how much space is there for creation and artistic value with such a mimetic style of work? Do your works exist on their own, without commentary, without textual background?

VM: I believe the amount of space for creation and artistic value is determined by the artist themselves. It’s the artist who sets the boundaries within their project and decides how to navigate them. During a conversation with Anna and Witek, while we were on our way to Jastarnia for dinner, I confirmed to myself that it’s all about choosing the best way to express the project, which can sometimes involve starting with theory, sometimes with practice, or even both simultaneously. For me, the most crucial aspect is to discover something new and continually surprise myself, allowing for the creation or application of new rules each time.

Regarding the second part of your question, I believe the viewer is best equipped to answer that. However, as the author, I think it varies. Sometimes, I consciously decide that the viewer would benefit from reading the accompanying text, while at other times, the visuals alone convey the message effectively, making the text unnecessary. It depends on the specific project and its intended impact. 

DG: When I look at your photos, for example when looking at the portraits of the chief conductor of the Lithuanian National Opera, Ričardas Šumila, I feel invited into the musician’s workshop, into his intimate space, I feel, in a sense, like a voyeur… Your photos not only document the existing reality but are also a kind of story about a man and his life. What determines the moment when you press the shutter button, particularly  to capture this shot? Or is it simply just the right moment of capturing?

VM: I’m glad to hear that you feel this way.

When I’m working on portraits and have the chance to spend more time with the person, I love to do so. I enjoy getting to know the person, observing their surroundings and activities, hearing and seeing how they live. Being a guest in their life, even for just a moment, is an experience I cherish.

So, in some sense, I’m more focused on capturing what the person shares with me rather than worrying about the “right” moment.

DG: Which of the artistic projects you’ve already completed during your artistic journey required the most effort, which one was the most memorable to you and why? Which one do you remember best?

VM: Every artistic project I’ve undertaken throughout my journey holds a unique place in my heart, making it challenging to single out one as the most effort-intensive or memorable. Each project carries its own distinct context and personal significance to me.

These projects have varied in their approaches. Some marked my initial foray into a particular artistic territory, while others were more extensive and practice-based, demanding significant dedication and effort. Some were conceptually driven, delving deep into abstract ideas, while others were rooted in personal experiences, crafted during moments of both joy and emotional hardship. Recalling these projects, I see them as a diverse spectrum of colors, each representing a different facet of my artistic growth and exploration. It’s this diversity and the range of emotions and experiences associated with each project that collectively shape my artistic journey and continue to influence my work today.

DG: Coming back to the Sopot Festival of Photography. What style of work did you and your co-residents adopt while working on your exhibition? How did you organize your creative base?

VM: We had a short residency that lasted 10 days. During that time, we took the opportunity to settle in and explore the surroundings of Sopot. Almost every day, we had breakfast, lunch, and dinner together, often cooking as a group or dining out. This was a wonderful time for us to get to know each other, build bonds, and share experiences. Each of us had our own approach to our work. Personally, I chose to go for a run almost daily and used that time to explore, which eventually led me to start a project that connected the book I was reading at the time with my observations and reactions to the surroundings. The book was by C.G. Jung, and his concept of the “Shadow” felt like something to reflect on during the evenings, leading to nighttime photography sessions. After the residency, Maja Kaszkur and I collaborated on finalizing the project for exhibition, and later, we all worked together on the exhibition display.

(The interview was conducted in September, 2023) 

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 “W Ramach Sopotu” photography festival

The Source

The motto of the 9th edition of the festival was inspired primarily by observing the formation of projects and conversations with the artists invited to the residency program, who worked independently on their respective themes.

September 01,2023 – September 17,2023

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