Repetition is an important element in Trimakas’ work. He uses classification in his images of used items in a bathroom or people’s clothes, as a way to arrest the viewer in front of his studies of mundane objects. Trimakas seems to be looking for traces of the decay that unfolds in people’s daily lives when they remain alone with themselves as well as traces of their capacity for recognition by defamiliarizing that which usually enables identification. Maneuvering between banality and ambiguity, Trimakas encourages reflection on the themes of authentic existence and its temporality.

Collection of the Lithuanian National Museum of Art

It is not hard to see the futility of a worn-out life In Zinkevičius’ photographs. His banal works, diluted with sentimentality, speak of the painful condition of individuals at the time, hiding somewhere beneath the overly ornate wallpapers. Zinkevičius does not shy away from life as it used to be, on the contrary, he accurately reveals the condition of the individuals trapped in that life, and so, in his own way, brings the simplest everyday objects to life.
 

Collection of the Lithuanian National Museum of Art

At the beginning of his career in the second half of the 1980s, Šeškus created explicitly non-visual, monotonous photographs, as though to assert  that the image was not necessary for photography. His photographic prints are characterised by an intentional impression of amateur photography (compositional inaccuracy, image blur, defects, scribbles), and the captured motifs – cityscapes, interiors, fragments of figures – are nameless and almost insignificant. Šeškus’ work, which was misunderstood and criticised during the Soviet era, marked the withdrawal of Lithuanian photography from weighty, existential themes and a reformed approach to photographic aesthetics.

Budvytis, like other young photographers of his generation, avoided capturing exceptional events or objects, and usually turned away from the city to capture suburban life. The people he photographs are usually apathetic and listless. In his works A Woman and A Man Budvytis shows people in a fragmentary way, without revealing their faces. In this way, he seems to generalise women and men, their condition is given away only by small, insignificant details barely visible in his photographs.
 

Collection of the Lithuanian National Museum of Art

Bubelytė, unlike her contemporaries who made their debut during the Soviet era, uses photography to create her own world / performance. She uses found objects – a cardboard sheet, a mirror, a board – to reimagine the stereotype of the “feminine woman” that was prevalent at the time, whilst also seeking to legitimise her own existence. The character created by Bubelytė challenges the viewer through unexpected angles and juxtapositions, thus reinforcing the absurdity of the gender stereotypes.

Collection of the Lithuanian National Museum of Art

In his series of cityscapes, Juškelis focuses on the shapes of individual elements, the effects of reflections and light, and experiments with colors and photographic techniques in order to create a new photographic reality, an intermediate stop between reality and fiction. This dualism is also evident in one of Juškelis’ most famous series, Humans and Mannequins (1987–1992), which analyses the relationship between humans and objects, the reality of life and its surreal imitation.

Remigijus Treigys’ photographs stand out for their sensuality. This is partly due to the aesthetic subtleties of his manually developed photographs, but it is also inherent to the objects he captures. It feels as though you could run folds of the bedding between your fingers. And yet Treigys concentrates on subjects that contain the traces of previous times and generations, each photograph carefully trying to touch something that lies beyond time.
 

Collection of the Lithuanian National Museum of Art