Furniture Does not Cry
An interview with the artist and designer Barbora Žilinskaitė
‘I want encounters with environmental objects to be more playful and have more meaning,’ Barbora Žilinskaitė told me in the middle of our conversation. Continuing the topic, we both agreed that not every item can become special, especially in the context of mass production: just imagine the global cacophony caused by subway chairs telling their life stories all at the same time. However, we all have special items that we have developed a connection with, or which help us find a little more meaning in everyday life. I talked about the material world and the world around it with the designer and artist Barbora Žilinskaitė (b. 1996). In her work, she explores and creates functional objects, and questions their place in the world and people’s relationship with the material environment. The artist poses questions about the possible connections between people and things, and what rituals and practices we can use to create that connection. Barbora’s works are characterised by anthropomorphic, surreal human features, bright colours, and sculptural lines. These are objects that will definitely catch your eye, and maybe, like me, you will want to give them a name and become friends.
The artist studied product design at Vilnius Academy of Art, and since 2020 she has lived and worked in Brussels in Belgium. Every year we can view her work in solo and group exhibitions in various countries, and hopefully soon in Lithuania as well.
Geography of life
Agnė Sadauskaitė: There are three locations that map some of the events in your life: you were born in Kaunas, studied product design in Vilnius, and now you live and work in Brussels. Where was your interest in art and design born, in Kaunas or Vilnius?
Barbora Žilinskaitė: It all started in Kaunas. I was twelve years old when I persuaded my parents to let me attend the Kaunas Art Gymnasium. This school seemed interesting to me, different to the rest. It was where my acquaintance with art began, along with intensive lessons and a rather large workload. I learned the basics there: we tried academic drawing, sculpture, painting and other art forms, in addition to all the subjects in the main school curriculum.
AS: How did you decide to study at Vilnius Academy of Art?
BŽ: At the end of school I had to decide what to do next. In addition to my artistic side, I also have a strong logical, analytical thinking, side, and I was reluctant to choose exclusively artistic studies. I wanted something a bit more down-to-earth. That’s how I started thinking about design: I was very interested in interactions with people. Also, the field of design offers many different materials and technologies. Since I didn’t know exactly what I wanted to do then, it seemed like a good choice.
After entering the rather technical environment at the Academy, I probably missed irrational, intuitive creativity, and started to look at more artistic design projects. I have always moved and still move between the two sides, one quite logical and conscious, the other quite intuitive, subconscious and creative. This relationship, and the search for a balance between them, has always been very interesting to me. I encourage the viewer to walk along this fine line together with my work, to go from the rational side to the irrational, and to look briefly at the environment and everyday objects from a different perspective.
AS: You opened your studio in Belgium in 2020 with the collection ‘Roommates’. When did you decide that you wanted to settle in Brussels?
BŽ: I came here for love, everything happened quite naturally. At that time, I had already finished my studies and internships, I didn’t have a specific place or job, and decided to try living in Brussels. I could say that I chose to go where life seemed to invite me. I settled in Brussels at the beginning of 2020 just before the pandemic. Everything was closed, but at the same time it was good to feel so free: nobody knew me, nothing restricted me, I was isolated in my own bubble. That’s when I started my practice and created my first objects.
AS: I can only assume that the initial period in the new country was quite surreal: a double new experience, both because of emigrating and the pandemic. Vilnius and Brussels are cities of a similar size. How do you like the cultural life in the Belgian capital: is it interesting?
BŽ: Yes, culturally, Brussels is really big. There are good galleries, and lots of exhibitions and events. The community of artists is active. There are many projects organised by artists. I really don’t have enough time to see everything: the choice is wide.
Anthropomorphic works in an anthropocentric world
AS: In your work, you explore the dynamics of relationships, bonds between people and their material environment, and between consumerism and anthropocentrism in general. Why are these topics important to you?
BŽ: These topics are relevant, and they are related. There are more, but I am not necessarily trying to convey all of them to the viewer. I have always been interested in and fascinated by myths, stories about where objects come from, what meanings and value they have, and ritual objects that make everyday life meaningful. I feel I miss these things. I wish there were more such stories and mysticism in our environment. As for myself, when I observe the environment more and concentrate less on myself, I enjoy the moment more. It brings me back to ‘now’, and then a process or action acquires meaning. This understanding, giving meaning to objects, perhaps prompted me to think about the listed topics: how our relationship with the material environment is formed, how it is for us now, and what it was like before, how much we notice the things around us, and what value they have. Do we just use objects, and do we consider it is not only us, but is there also another environment?
AS: You have mentioned that one of your creative aspirations is to make encounters with objects around us joyful, valuable and magic. Does this also relate to the topics that you explore in your work?
BŽ: Yes, it really is closely related. The moments when we notice the environment and how we use objects can also inspire us and bring us more playfulness and magic, discovering different emotions in everyday life. I am interested in how we can allow ourselves to break away from a rational, grey relationship with the environment, to one that is perhaps illogical and surreal, but exploratory and empathetic.
AS: The design objects that you create are anthropomorphic, sculptural and bright, recalling parts of the human body. Looking at your work, the first thought that came to my mind was that I wanted to give this piece of furniture a name, to humanise it, to distinguish it from the rest of the environment. Is it difficult to part with the objects you created?
BŽ: It’s not difficult. I’m glad they seem to continue their lives, because they are designed to move. But sometimes I think I would like to receive more photographs from the new ‘parents’ (laughs), to see whether the furniture feels good in its new place, and what and how it is doing.
AS: The way you share and create, I assume that this can only be achieved by having a sensitive world-view. Do you agree that you are sensitive to the environment?
BŽ: Probably … It often happens that while walking in the city I see something inspiring, funny or strange in every object. I create stories for them, and then I laugh. I may be a sensitive person, but I think sometimes I hide it well from those around me.
AS: You mentioned walking in the city and observing objects. Does urban architecture influence your ideas?
BŽ: Directly, I think not. I find more inspiration in nature, for example, in the forms of trees or people. I am inspired by architectural objects in which I see anthropomorphic forms, as well as rich materiality and textures. Sometimes I study how different spaces change and affect my mood. I notice these things, and these perceptions influence my work, because furniture ends up in our environment and our interior.
Creative processes and plans
AS: I would like to hear more about the creative process itself. Your objects are made from sawdust, pigment and glue. How did you discover this method?
BŽ: For the first works I had sketches, and thought about how to make them. Traditional materials turned out to be not the most suitable. I knew that a mixture of sawdust and glue is often used by carpenters as putty to fill cracks or holes. I myself have experimented with sawdust, but at the Academy I mixed it with flour and water instead of glue to create an organic material. So I chose to experiment with sawdust and see if sculpting would be possible at all, and if so, then how to do it. I also decided to add some pigment to see what would come out. Experimentation was very easy, and I discovered many possibilities hidden in texture, colours and shaping possibilities. I also liked the method itself, although it is not easy. In the long run, a number of challenges, questions and nuances appeared; for example, an infinite number of tests have to be performed in order to obtain a certain colour or texture. I didn’t want to let it go though, because this way I can get sculptural organic forms. I have put a lot of time into this material, and I still see new possibilities and have many ideas.
AS: How do you shape furniture? How long does it take to dry?
BŽ: When I work with sawdust I shape it by hand, but all my works have frames. They are mostly made of wood and have metal reinforcements, so at first they are just wooden furniture. I stick the sawdust material on this structure to give it shape. The works dry differently. It depends a lot on the shape and the temperature, but it can take from a few days to several weeks.
AS: Do you make the frame of the object yourself?
BŽ: I make the frames of some small objects myself, but I make more complex models together with carpenters. I give them the details, they make the frames. I don’t have a carpentry workshop myself, and I trust the professionals more. I concentrate on the colourful, sculptural side.
AS: Your works are playful, whimsical and unexpected. One day you shared the production process of the object Extra Pair of Hands, where you polished the furniture’s ‘nails’, jokingly adding that manicure is one of the most important activities in your studio. You convey your creativity easily and wittily. What is your creative process?
BŽ: Today I will also do a manicure. Yesterday I chose the nail colours (laughs). When the first sketches are born, I try to let the subconscious reveal what is ‘behind the scenes’, and I often ask what a certain typology of furniture symbolises for me, what emotions it brings. At the very beginning I have an idea, then a sketch, and I usually make mini models from plasticine. It is a playful time. Later I think about production, comfort, function and dimensions, and I work a lot and extensively with that. This stage is sometimes much more boring and rational, but at the same time it brings new ideas and challenges.
At the same time, I want the created objects to have a meaning, a ‘soul’, a certain ‘energy’, so I will try to look at them from this point of view already during production. To me, they are characters with their own features. I recently caught myself working in the studio and passing a piece of furniture and tapping it on the shoulder, just like a human being, asking if it was doing okay. I laughed to myself and continued working.
AS: In February and March 2024 you presented the solo exhibition ‘Chairs Don’t Cry’ at the Friedman Benda Gallery in Los Angeles, which received a lot of attention and positive reviews. Can you share your impressions of the exhibition?
BŽ: It was fun to see so many people, their emotions and reactions. The furniture became even more alive when it was surrounded by people. I encouraged people to touch it, take it by the hand, and open cupboards and close them. I always find it interesting and useful to see the interaction between the two sides. In addition, I think a solo exhibition is a good time to look at your work more objectively from afar. It is a kind of overview of the creative stage.
AS: How did the collaboration between you and the Friedman Benda gallery come about?
BŽ: The collaboration itself started about three years ago. They were interested in my collection ‘Roommates’. Later, we worked on a couple of orders, and I shared some ideas with them. The preparation for this exhibition was quite long because the production takes a lot of time. I also participated in a couple of group exhibitions at their gallery in New York, and several art and design fairs. We also have plans for the future: we will soon be able to meet at Design Miami Basel, the design fair in Basel. I will present the Sunbather bench made of concrete there, which could also be seen at the exhibition in Los Angeles.AS: I’m keen to hear more about your future plans. What ideas would you like to implement?
BŽ: I would like to experiment more with other materials, and with the current material as well, but in a more painterly manner. Now I’m at the stage where I want to look at colour in a different way, and also in terms of form. One of the ideas I’m exploring is to create an entire room as an installation, where each object is figurative. Lots of ideas come and develop little by little. I’m currently preparing several orders. Since I started working with concrete at the same time, perhaps a few more objects will soon be born from this material.
Now I’m searching and experimenting how to capture, understand and use my creative energy (although this will probably last my whole life), especially when I have a lot of ideas in my head, I think about how not to lose them. My studio is my own academia. Maybe it would be interesting to learn more different techniques, but on the creative side I challenge myself and try to test myself.
Interview published in Echo gone wrong.
Pic: Courtesy of Friedman Benda and Barbora Žilinskaitė. Photography by Bo Vloors