Inferno

Svai and Paul Stanikas art is controversial, scandalous, mannered and also emphatically esthetical. They create drastic images: simulations of fake deaths, extreme doses of sexuality, illness, violence, aggression and self destruction, questioning of basic self security instincts, voyeurism and exhibitionism. Their visuals are made using different medias and based on classical schemes: academic drawing, imposing music, dignified compositions, museum atmosphere, the elements of theatre, cinema and classical dance.
A couple of artists work together since their studies. They started with ceramic sculpture objects covered with slimy enamel and reinterpretation of soviet and foreign sculpture patterns. A bit later artists included drawing (anatomical, huge, academic) to their arsenal of expressions, photography (glamour and big sized), elements of installation. And finally – video films (montage of video performance and documentary material).
Along with sex and death another important theme for them is relation to the artistic and personal tradition. Paul’s grandfather Petras Vaivada was a famous sculptor and his prehistory is full of artistic challenges that enriches and chase ambitious offspring’s. Statues, drawings, photos of the ancestors become the part of Stanikas’ video work “Inferno. Motherhood”. The rituals with statues show that the trap and pleasure of emotional dependence is unavoidable.
The paradigm of postmodernism allows mixing high and low cultures, themes, methods – anything. S.&P. Stanikas do that methodically as many others. The unique and extreme character of their works is reached by choosing the highest and the lowest. The top and the bottom are together.
Exploring art works that examine moral norms is common to expect specific social goals, programs or ideologies. The willingness to change the understanding of woman’s role (feminism), to protect the weak (social criticism) or to greave for victims (holocaust theme) could be found in separated works by S.&P. Stanikas.