Two primitively painted figures, which reference the hyperrealistic features of Gerard Richter's paintings, are depicted. The artist made models of two characters, first from plasticine, then painting them on canvas. In doing so, he reflects upon the idea of painting as modelling, referring to motifs and the process of their selection from the cultural context. This work also reveals the first elements of gender relationship analysis.
In an abstract space, isolated characters are painted with animal heads, depersonating them and reducing them to their gender and character. Cinematographical situtation becomes the catalyst in the search of compositional decisions. This is the first work from the cycle entitled "Ekspozicija" which, instead of figure, depicts characters who are reduced to descriptive terms.
The motif of a painting inside another painting is not uncommon in the tradition of art. Here, however, he paints both of the pictures himself, contemplating his own creation, and rendering the author as the motif, the creator and the spectator. The dimension of time is also referenced in the 'double' surface of the canvas, simultaneously uniting these separate actors.
The artist's figure is gradually depersonalised to the point of an abstract character, whose facial features and proportions are consciously distorted. The replicable figure is considered as a mark, a line, and perspective. It deals with the problematic relationship between the figurative and the abstract. The schematic interior emphasises the necessity of a spectator, who compliments the language of signs bringing in his own personal experience. The importance of the brushstrokes signals a move away from the influences of other artists' such as Wilhelm Sasnal or Rafal Bujnowski, who work with the aesthetic of a smooth surface.
Amidst the wire, set in glass, he creates silhouette drawings, replicating in one way or another other art works. "Šimtas" (Ger. "Hundred") is a collection of particular things or meanings that have been made into a system of signs. Self reflection and revisiting his own material is a characteristic of the artist.
This drawing not only reveals the artist's creative process, but it also examines the actual medium. Graphite capacitates the creation of monochrome chiaroscuro (light and shadow) images. A lonely figure cloaked in shadows replicates the condition of the artist in the contemporary art world. For Zakarauskas, the plot becomes a tool in a perfect composition, accomplished by finding the ratio between the mark and the plane.
By using the symbols and insignia of dictatorship, the artist ironically propagates such dictatorships. When painted in loose brush strokes, the surface of the paint serves to emphasise the presence of the painter's brush. In this work, Zakarauskas questions the tendencies of contemporary art to accentuate the importance of each artistic discipline.
The monumental figure placed in the centre of the canvas announces the domination of painting within the artistic ouvre. Large scale sculptural plans together with the red colour scheme reiterate the aggressive totalitarian undertones. Just as the sculptures of the "great leaders" are always meant to be viewed from below, in this painting the facial features of the central figure are obscured, placing the focus on the outstretched finger showing the right choice. At the same time the plasticity of the images used contrast with the nature of the doctrine "Learn painting".
The expressive colour scheme and composition provoke allusions to interpretations of the Day of Judgement in art history. This work finishes the cycle "Learn Painting" by creating a scene of painting's triumph. Harsh combinations of colour, and the complicated multifigured composition quote the learned and the breakable rules of painting