My works are influenced by the history of art and architecture, kitsch and industry.

Art history is my real fascination, especially old Dutch painting with its love for detail, sometimes even obsessive precision. I pick up identifiable elements from art history and incorporate them into my works giving a new context, which is sometimes humorous and ironical. However, I use these elements with much love and attention.

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Architectural forms are very important in my work. Old Vilnius architecture is an important source of inspiration. The beautiful Vilnius Baroque church leads to a series of works with squares inspired by this old church. These works have a special personal meaning to me , since they depict a view that is very familiar and common to me, but on the other hand I inhabited it with some strange personages, thus making it surrealistic, dream-like.

A mechanical word of various industrial things (like plumbing, pipes, taps or old oven doors) fascinates me. I have some romantic feelings for the raw beauty of the old industry. In my recent works I combine various mechanical forms with precise and rich decoration in the 19th century porcelain-decorating manner. I want the result to be a paradoxical contrast, the idea that everything is relative, art-kitsch, beauty-ugliness, reality-dreams, funny-serious, old-new.  My works are actually not comments on the decline of industry, but mostly my personal history and my childhood memories. I like my works to be a little surrealistic and sentimental, slightly ironical, full of various allusions - historical, mythological, religious, but mostly-personal.

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Combining contemporary and historical, working with over-glaze techniques in a very precise manner. This feeling like a 19th century porcelain decorator is fascinating to me. The technical side, the execution of the work, is always important to me. In that sense I realy feel I am a ceramist, a craftsman.

In my work I often use ready-mades. Sometimes I incorporated found objects. I am living in a contemporary social environment, where products of industrialization become trash very quickly. I am happy to give some of these things a second chance and to make someone understand how nice this trash is, when you feel the history of things.

My often-used technique is press-molding, and my molds are often taken from found objects around me. Using decals alongside hand painted decoration is again using ready-mades. I compose these ready-mades in their own way, thus making them work for my own idea.

From the first sign, refined compositions (in the sense of form) hide inside a considerable dose of humour. Still, to grasp it, a direct relation with observed object is not enough. Lauckaite is imposed on "aristocratic" style of intercourse based on subtle hints. But the artist does not allow even to the chosen ones to lull in exaltation. Inventively combining attributes of daily life with moulds (statues, natural forms), she skilfully transforms them to the pieces of art and puts surprise accents of prosiness and high artistic value.

Dalia will be making her unique works using the high quality porcelain available at the studio, lecturing about her work and demonstrating her different techniques during the program.

International Ceramics Studio
H-6000 Kecskemét, Kápolna u.11, Hungary
tel: +36 76 486 867