Final MA Artwork "Katpedeles and Segments"

  • Katpedeles and Segments
    Final MA Artwork

    Final MA Atwork contains: Katpedeles and Segmentsand Three dimensional rendition of quadrangle geometrical pattern common in Lithuanian textile".

    Each Part is compiled under the same Theme and different Title.

    Theoretical part: “Ornament in Textile”. Scientific adviser Prof. Vytautas Jonas Kasputis.

    Practical part: “Katpedeles and Segments”and “Three dimensional rendition of quadrangle geometrical pattern common in Lithuanian textile, corrugated cardboard, Esko ArtiosCAD. Scientific adviser Prof. Arūnas Sakalauskas.

    Brief description of the concept and means of expression
    Ornaments of the Balts is a source of inspiration. There are huge unused resources, ideas, allusions in the Baltic deposits; thus, one only has to make use of them. The shapes of ornaments have given rise to a number of ideas, and even to a greater number of their variations. The Baltic ornament has distinguished for simplicity, moderation and sculptural nature. By retaining the recognizable forms, combining the modern with the archaic, I create my own, original version of the Baltic ornament. My goal is to present a picture of the Baltic ornament in a three-dimensional space, to highlight its main forms, to look for a relationship with man, environment, interior fragments, to search for space for developing the ornament by sculptural and architectural solutions. The basis of the paper is the textile pattern “Katpedeles and Segments”.
    An ornament is a bridge between the past, the present and the future!
    Ornaments circulate and change. The ambition to conduct studies of the Lithuanian patterns on textiles was prompted by such questions as what power, what code, cipher or secret lies in the patterns of textile. Whether an ornament gives a possibility of survival for ideas and peculiar perception of the world.  Whether folk art may nourish the forms artistic expression?
    In my scientific paper “Ornament in Textile” I revealed with the help of what schemes a fabric may be woven; also discussed the sources of textile patterns, explained their peculiarities, diversity, provided classifications; in short I investigated their form and meaning.
    The “Katpedes” pattern of squares woven in Lithuania in 19-20 th century is called this way because the shape of this ornament resembles a cat’s foot. Decorative shapes of the ornament were comprised of two and three size elements. The quadrangle geometrical patterns, called “Katpedes”, were considered among the most typical in our countryside.
    The authenticity of textile patterns – implies peculiar forms and names. The basis of creative work is a graphic picture of the smallest recurrent weaving pattern, of a motif of the square textile pattern called “Katpedes and Segments”. The very same graphic ornament transferred to a three-dimensional space becomes a new pattern, a spatial structure, an object of art. The illusion of squares is created in a three-dimensional space using three size square elements (combinations of four shapes) and three different colours: white, brown and blue cardboard, following the identical principles of construction. Blue colours were liked by residents in Southern Lithuania, and it prevailed in the clothing of Lithuanians in East Prussia. Thus, using a non-traditional technique I made a graphic drawing of the ornaments. I dissembled the ornament and split into separate segments. 
  • Review
    of the practical part of the master’s paper

    Katpedeles and Segments

    by the graduate student Laima Lisauskienė

    Klaipėda department of visual design


    The etymology of the name has a probability of failure to tell all. To avoid misunderstanding I would like to explain that there is such type of ornament as Katpedes.

    The word segment is understood as a part, module of a particular object, however in the classification of ornaments, an ornament type is also defined as a segment.

    The title lacked intrigue, interaction of two positions, correlation.

    It is difficult to apply the review structure used for a theoretical paper for the practical part of the master’s paper. Here, no objects are expressly formulated, no hypotheses are raised; no it is possible to estimate the scope of the work in pages; besides, no conclusions and suggestions are formulated. Nevertheless, an implied structure may be felt.

    Let us say that the task is clear: to find a suggestive artistic solution to embody an idea (irrespective of the form chosen by the author – planar/chromatic or graphic/plastic solution, video, piece of art composed with digital technologies, action, or performance). The graduate student selected the form of a spatial object – as if a short-lived sculpture, a comparative  element of architecture or an object of interior design. The term ad-hoc-ism is used in post-modern aesthetics. Ad hoc (a Latin term meaning “for this purpose, case, apropos”) defines an art piece created for a particular case or purpose.

    The second of the tasks– artistic suggestion, intrigue, potency by freshness of the idea, philosophical depth, polysemy of the art work.

    The semantics of this object has correlations with the fabric fixed on the weaving machine. I have studied textile for four years. This technique required quite much technical knowledge from a simple rural weaver: it is important to wind the fabric into a tight roll; to pull the yarn through the reed, heddles correctly; to stretch all warp threads evenly; to step on the footrest correctly so as not to confuse a single weft. Then a magic process begins which is compared in mythology with the fabric of life woven by the goddess of fate: upward-downward, morning-evening, day-night, in-yan, etc.

    The graduate student takes the viewer on the road of metaphors: the construction of this spatial object as if repeats the stretched warps where the ornamented fabric of life being woven acquires some volume. The life scenario no longer proceeds in the linear time; it spreads into numerous possible variations on several levels. It seems that if one of the boxes with ornament segments is opened, one will find the very same, but reduced structure, as if an endless fractal, worlds inside the worlds.    

    it is probable that a peculiar trend of art is being formed and exists; it chooses a very reserved aesthetics as a means of expression which sources are only square (pixel) or rectangular shapes used for the creation of objects, décor, typefaces, video works. Such examples may be found in the art of different countries of the world.

    They may be made by examining to what extent the work of art is innovative with respect to the colleagues’ works and within the context of modern art. A Lithuanian would inertly criticize the primitive form or exploited composition. Nevertheless, if the context is changed (e.g. the work of art is moved to an art gallery in any European country, or to the interior of an exhibition) this work of art shall highlight all characteristics of national identity and shall become an object representing ethnic culture of the country.

    In this case I would suggest dissociating from the quality of execution on the raw material. It is obvious that a mechanic shift of the idea into another substance is very risky. This idea would not raise any doubts in the digital form.

     Suggestions.  Suggestions.
    Having in mind that this executed object is only a segment of all great conceptions generated during the second year of graduate studies I would suggest giving an excellent assessment for this work.




    Lecturer Lidija Kuklienė

    Klaipėda Department of Visual design

    Vilnius Academy of Arts



  • Artwork "Katpedeles and Segments"