In the exhibition “The Valley of the Senses”, artist develops a visual and conceptual inquiry where the trajectories of collective memory, archetypal symbols, and personal experience intersect. Drawing inspiration from the archaeological landscape of Kernavė, Baltic mythology, and fragments of everyday life, artist creates a multilayered narrative exploring time, intuition, and the human relationship with a place — the Valley of the Senses.

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Wrapped in legends, the valley and the five hillforts rising along its edges preserve traces of the capital of the last pagan state in Europe. The name of the Valley of the Senses (Pajauta) is associated with the mythological figure of Pajauta — the daughter of Duke Kernius and the mother of Kukovaitis, mentioned in historical sources. According to the legend, after her death, an idol was erected, and the linden trees that grew in that place became sacred, giving rise to the tradition of the Pajauta cult, which remains preserved in the cultural memory of Kernavė to this day.

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Here, Kernavė is perceived not only as a historical territory or a symbol of the origins of Lithuanian statehood, but also as a kind of energetic and cultural node where different eras, myths, and experiences overlap. The artist explores archaeological findings, landscape topographies, ancient burial objects, and symbols as codes of memory that allow a reconsideration of time not as a linear progression, but as a cyclical process.

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This reflection resonates with the questions raised by St. Augustine in Confessions concerning time, consciousness, and the identity of the self: what remains of a person within the constant flow of history and experience?

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The exhibition becomes a response to the contemporary culture of information overload. Under the conditions of a globalized world, people increasingly experience inner fatigue, creating a need to reconnect with their senses, intuition, and collective memory. Artist defines this process as a renewed perception of everyday life — a state in which, after stepping away from constant noise, information begins to “flow” through different channels, and the world reveals itself not through rational analysis, but through felt experience. It is a state between the suspension of attention and open awareness, where an object, sign, or phenomenon appears only when a person is ready to perceive it.

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A significant place in the artist’s work is occupied by animal archetypes — cranes, swans, cuckoo birds, falcons, cats, and rabbits. They function as timeless symbols connecting natural cycles, mythological narratives, and the human subconscious. Alongside them emerge familiar, everyday objects: a Volkswagen Polo Cross car, a packet of chamomile tea, or a bagel.

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These motifs demystify experience and reveal that intuition and inner states do not exist separately from everyday life — they are rooted within it and transformed through it. Artist seemingly alchemizes ordinary reality, turning it into a symbolic space of inner experience.

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The exhibition functions as a contemplative space where intuition is understood not as a mystical phenomenon, but as a deeper form of perception — an ability to move beyond the surface of everyday appearances and touch what has remained unseen for a long time.


Curator of the exhibition Austėja Raščiūtė