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Adomas Vingis

Lithuanian/Australian artist and printmaker 1917-1980

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ABOUT THE ARTIST

As chaos engulfed Europe in the aftermath of World War II, Adomas, along with thousands of his fellow Lithuanians, fled with his young family in search of a better life.

He arrived in Australia in 1951, eventually settling in Brunswick, Melbourne and in the 1960s began a prolific period of output creating unique, vivid, abstract works.

MIXED MATERIALS

He began to experiment with different materials, primarily automotive lacquers. These provided vivid colours, often with a metallic sheen, which could be poured into loose, fluid shapes that he could manipulate, sometimes using a compressed-air spray gun.

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 COLLECTIONS


1960s

During the 1960s, Adomas began a prolific period of output, experimenting with materials and techniques as he explored his creative approaches.

1970s

After his prolific period of creative exploration during the 1960s, as the 1970s began, Adomas turned his attention to refining his visual style.

From Lithuania
to Australia

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EARLY LIFE

Adomas Vingis was born in Lithuania in August, 1917. Although he was a naturally gifted artist from an early age, he was largely self-taught and never formally studied art. When World War II broke out, he was already married and the father of one child.

INVASION

The political and social landscape of Lithuania and Europe was in chaos. Invasion followed invasion, and together with hundreds of thousands of his countrymen, he decided to leave with his family. In Germany, as a displaced person, his second child was born, and he studied architecture in Stuttgart.

A NEW START

Finally, the family were accepted as refugees by the Australian government. They arrived in Melbourne in 1951.Settling into a new country and a new society, with a new language, was challenging, so it was only after twelve or so years that he was able to find the time and the space to begin to paint.

 INFLUENCES &
EXPERIMENTATION

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From the start, he was attracted to abstraction, its forms and compositions. As he became bolder, he began to experiment with different materials, primarily automotive lacquers. These provided vivid colours, often with a metallic sheen, which could be poured into loose, fluid shapes that he could manipulate, sometimes using a compressed-air spray gun.

Printmaking was a special love. He very much admired the prints of contemporary artists in Australia, and especially liked modern printmakers working in Japan.