Geiste Marija Kincinaityte
There is no need to look far for the obvious: it is already there, ‘on the way’ — ob-viam, en route — as a very condition of the route’s beginning. It can be found in the vicinity of that which is self-explanatory, self-evident, taken for granted, trusted, unquestionable, and, even if placed in line of sight, invisible. Obviousness is therefore bound to reside in absentia, but this can be an enabling absence – which is a condition of any kind of trace-making.
These deceivingly obvious traces, left by an ‘obsolete’ film camera, arrive as postcards — cartes-de-visite — enveloped in and possessed by the abundance of artefacts of absence. In all its balmy, mundane, urban ‘resortness’, the scenery appears to be uninhabited in an uncanny way. There seems to be no one there to enjoy it or dwell in it. A human inhabitant, a holidaymaker, a subject ‘supposed to enjoy’ the resort — the very proof of the validity of this scenery, someone who would be able to provide some kind of reference for its interpretation — is excluded from the image. The places appear to be both abandoned and yet to be inhabited.
Placed under the conditions of still life (nature morte), Resort becomes a place in absentia, even though it bears the name of London.
London-based Lithuanian artist Geiste Marija Kincinaityte (b. 1991) develops intuitive research strategies while showcasing the self-referential aspects of photography as a medium. Her work is haunted by the anticipation of an encounter with the uncanny. In 2013 she has received a BA in Media and Communications from Goldsmiths, University of London, where she is now enrolled on the MA in Film and Screen Studies. In 2014 she was a finalist in the FreshFaced+WildEyed photography contest, which resulted in a group show at The Photographers’ Gallery in London. Her first solo exhibition opens at the Kaunas Photography Gallery, Lithuania, in January 2016.