Gabrielė Adomaitytė interrogates the lifecycle of images—printed, digital, archival—by painstakingly hand-painting them on canvas as acts of preservation and transformation. Her work amplifies the material traces of visual media—sun-bleached pages, crumples, Xerox reproductions—to reveal how imagery shifts and degrades through layers of reproduction, establishing a poetic dialogue between memory and loss . Adomaitytė draws from an eclectic archive—Baltic jewellery catalogues, medical nano-photographs, family photo albums—to construct a visual system reminiscent of Aby Warburg’s Mnemosyne Atlas. By translating these found images into painting, she slows down fast-moving digital culture to create meditative spaces that engage with the illusion and tangibility of memory . Her technical precision—tracing, hand-duplicating, layering—introduces subtle distortions and visual drift: echoes of generational loss when images are copied repeatedly. She embraces these imperfections as central to meaning, evoking forms that hover between clarity and entropy . Adomaitytė’s paintings operate as mental aids to collective memory, offering viewers moments to reconsider the temporality of images and the persistent human desire for archival endurance. Through her nuanced visual lexicon, she reframes painting as a slow technology that honors—and questions—the enduring legacy of the image. ...
