white ◌ instead of diaries

solo exhibition – I observe how the paper objects explore the relationship between space, light, and the viewer. Inserted into an environment saturated with traces of history and marked by exposed construction, they free themselves from a purely aesthetic function and become connections between matter, memory, and experience.

Vilnius • September 2025

Exhibition organizer: Liepa Gaidauskaitė
Poster: Laura Matukonytė
Exhibition architect: Pavel Pavel
Assistants: Kornelijus Pelkys, Adomas Mažeika

Photography: Ilona Kačerauskienė, Jurga Urbonaitė

Before a film screening begins, I look at the white screen, and if I leave before the lights in the theater go out, then that will be my film – a white screen.

My grandfather’s graying hair appears white from a certain distance, but when you come closer, you notice a yellowish tint. It’s only a detail, but why do I return to this particular memory?

A notebook – a white trap. I try to catch a dream, a text, or a ghost in it, but most often it remains empty – non-existent beings are very cautious.

678 white beans in Lars von Trier’s Melancholia.

Blood drips from a pierced leg; I pay no attention, absorbed instead in examining the white layer of fat in the opened wound. He lies in the dark and listens to white noise on his radio receiver.

How many times in films has a jar, a bottle, a pitcher fallen, and on the surface a stain of white milk slowly spread?

White salt from the Black Sea.

(Everything that was meant to be written remains beyond the boundaries of this text – in the white, yet unnamed future. Or, to put it more simply – on another white page.)

Text – Pavel Pavel