Cervix Obscura. Archive of the (Un)Touchability, 2025

Silicone, metal, resin, fake nails, fake hair, gel nail polish, eyeshadow for pigment, real artist’s hair and nails

The artwork analyses subtle, (in)visible violence. The predatory gaze, which is dismissed as insignificant regardless of its consequences. It delves into the relation of the body and the gaze, thus questions how the gaze should be changed. Subtle violence is also linked to silence, everyday language and its impact. At last, the state of the body and the organ after the experienced violence is emphasised – what happens to it and how it feels, both psychologically and physically, but most importantly – how institutions and social environments react. The artwork becomes a crime scene, highlighting that attention is only paid to brutal crimes or absurd, yet insufficient, amounts of evidence. Nails, as the most common sign of stereotypical femininity, reflect collective trauma, defence and accumulation of evidence in the artwork. The organ of the womb not only gathers the evidence but is also used as a metaphor embodying invisible violence, the archive of pain, and witnessing control of the body and organs. She stares directly into the viewer’s eyes, refusing to remain unseen. These metaphors emphasizes that it is gender (both social and biological) that conditions this systemic crime. In a patriarchal society, organs are under constant surveillance; the victim is turned into a suspect, and the (un)stoppable gaze wanders across the body. But who is watching whom now? Artwork shown in a group exhibition ‘Transmit’ (,,Pernaša”), gallery Atletika, Vilnius, Lithuania, 2025