Egle Rakauskaite
The symbolic order is imposed by the church. In 1996, the artist found a metal crucifix in the market near the Dawn gate and cast several dozen copies of the crucifix from chocolate. Rakauskaitė stumbled upon the symbolic eating of the sacred body. The work is associated with the obsession with consumption, the direct appropriation of images through one’s body. The devaluation of religious images is reflected not only by the multiplication of the standard form of the crucifix in chocolate, but also by the ornamental placement of the crucifixes themselves: every second chocolate pan figure is turned upside down. The aesthetic dimension and smell are also important in this work

In 1994 the artist strung dried jasmine petals into the fabric from which she “cut” a T-shirt for “Virginia”. In the course of several years, she once again collected, dried and spun fabric for T-shirts. The artist describes her fragile work as such: “the idea itself is to age timeless ideas in physical form”.
In 2017, during Kaunas gallery weekend event, the artist invited the viewer to focus on the wall image on the other side of the “Post” gallery: the stars and planets that were invisible during daylight. Similarly to the installation of colored scents, the “STOP SPOT POST” project turned the viewer into a “donor of expression”, the inventory of values is created in real time. “Each experience is unique. We are all creators of worlds. And note, these worlds are not designed to be observed. They are created for us to be in them (citation from the project’s annotation).
In 2021 Rakauskaite updated the performance outfit of the girls connected with braids, reorganised the geometry of the connection and created a new version of the video. The participants of the performance were dressed in a national costume for which authentic fabrics have been created based on the textile samples stored in the Lithuanian National Museum of Art funds using the original mosaic technique: applying a holographic Oracal sticker cut into squares.
In 2015 Rakauskaite“organized an attack at the molecular level” in the now defunct gallery called “Post” in Kaunas. The artist used colored light to illuminate transparent PETRI dishes with colourless liquids and invited the viewer to test their sense of smell. In the installation, ammonia was illuminated in orange colour, creating a reference to Buddhist “enlightenment”, green colour has illuminated turpentine liquid which referred to the aroma of pine sap, and a thinning liquid used to dilute oil paints during her studies was used as an association with both the forest and painting. By suggesting an associative experience, the artist refuses any recognizable cultural code. By not copying the signs of the outside world, Rakauskaite provides an opportunity for the exhibition visitor to explore their associations and senses.