Interview with Angelė Šimoliūnienė — Contemporary Art Curator Magazine

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Angelė, our creative process is profoundly intuitive, guided not by sight but by sensation. Can you speak about how surrendering control in this way affects the final composition, and whether you ever return to a work after completion with a more analytical lens?

Yes, my creative process is intuitive, I am guided not by vision, but by sensations. The impulses of the subconscious guide my hand, showing a deep connection with my inner world, as well as with universal themes. I do not return to the finished composition of the drawing. There are only a few paintings when I returned to emphasize a specific figure more. My paintings are viewed from 3-5 meters.

Your paintings suggest an energetic dialogue between the seen and the unseen. How do you experience this transmission of information during the act of painting, and how do you sense when a work is 'complete'?

During painting, the information received from the subconscious or from higher powers is intuitively transferred into the painting. And you intuitively feel that the painting is finished, that nothing more needs to be added.

There is a palpable tension in your work between chaos and order—visible especially in your dynamic brushwork and color choices. How conscious are you of balance when working intuitively, and how do you reconcile spontaneity with structure in your visual language?

Everything happens intuitively. What matters is what information is conveyed. People's lives are portrayed as more structured, while what we don't see, what's around us, is more chaotic.

Your multidisciplinary background—from language and theatre to psychology and Eastern medicine—imbues your work with layered symbolism. How do these diverse fields silently influence the emotional or energetic undercurrents of your paintings?

My multidisciplinary background and deep involvement in philosophy, psychology, and art history foster a highly intuitive creative process in which each painting becomes a spiritual portal.

In your statement, you describe your paintings as your children, born through you and then released into the world. How do you navigate the emotional separation that comes with exhibiting or selling your pieces, and does that release feel more like loss or fulfillment?

Every one of my paintings has my energy in it. When someone likes a particular painting of mine, I know from genetics that that person's genes resonate positively with the energy of my painting. That's why I'm happy that my painting will be in that person's home.

Given your interest in genetics and neuroeducation, how do you perceive the role of inherited memory or cellular knowledge in your creative expression? Do you believe certain shapes, gestures, or colors are embedded in us beyond personal experience?

Talents, inclinations to one area or another are encoded in the genes of the family. Information is transmitted on a cellular basis even through 7 generations. There are artists in my family.
Gestures and colors are innate in us. We notice gestures, but we do not know what our natural color is, which should be looked at more, because it would enhance the vital functions of our body. Only intuition, our inner voice, can help with this. Each human organ has its own color, so it is necessary that the human eye often sees all colors brightly. Because information goes to the brain centers through the pupil of the eye.

Your recent award-winning works, such as Invisible Space and Deities, suggest a fascination with the metaphysical. What role does spiritual or mythic narrative play in your visual storytelling, even if it arises subconsciously?

My paintings invite viewers into a metaphysical dialogue between light and consciousness. The expressive use of acrylic reflects the essence of life energy, oscillating between bright hues and contemplative forms, and reflects a belief in the dual forces of good and evil that shape human existence. The themes evoke a spiritual undertone.

The rhythm in your brushstrokes evokes musicality—almost choreographed in motion. As someone trained in directing and theatre, do you perceive your canvases as stages or scripts, and if so, who or what performs upon them?

My works are a symphony of vibrant colors and dynamic brushstrokes, combining physical and abstract elements into harmonious compositions and scenes. The motifs are often symbolic, transcending literal interpretations, inviting viewers to explore the emotional and existential dimensions of human life.

You have said that inspiration comes when you 'feel energy.' Could you expand on what this energy feels like physically or emotionally, and how it informs your decision to pick up the brush at that specific moment?

I paint when I feel the energy in my body and the heat in my hands. The stronger the energy in my hands, the deeper the painting.

Many of your works resonate with archetypal imagery—cloaked figures, elemental forms, storms, spirals. Do you feel these emerge from collective consciousness, and what do you hope viewers will intuitively absorb from engaging with them?

In my painting I want to show that we are not alone on this Earth, that there are many energies and forces around us - good and bad, visible and invisible to the eye. That we should be good in our actions, deeds, thoughts, so that we do not attract evil energy to ourselves, which is destructive of everything. I want a person to think, to raise a person to a higher spiritual level.