It’s rare to hear about Lithuanian filmmakers who excel internationally in the realm of visual storytelling. Chernobyl, Catherine the Great, Ashes in the Snow, The Guilt, Tadas Blinda, and History channel documentaries are just a few notable projects involving Donatas Pirštelis, a cinematic artist and production designer who seldom steps into the spotlight.

With a background in monumental art and an Emmy recognition in 2020, Pirštelis returns to the fine arts scene after more than 20 years with an expressive painting exhibition, Aletheia. Visitors can experience the exhibition from June 7 to July 11 at the AP Gallery in Vilnius.

The Anatomy of Emotions or the Beauty of Brutality

In Greek, aletheia signifies the unveiling of hidden truths. Humanity, as the greatest enigma of life, takes center stage in Donatas Pirštelis's work. Abstract body forms emphasizing gesture, and eerie or occasionally tragicomic portraiture, weave into a narrative about humanity—a hero (or heroes) with a thousand faces.

Pirštelis began his career as a monumental painter in 1991. In search of a personal artistic language, he spent years navigating between surreal large-scale frescoes, expressionist chamber paintings, and roles as a film artist and designer. Regardless of the medium, the core of his work consistently explores abstract bodily expression and the anatomy of concealed emotions.

According to art critic Kamilė Pirštelytė-Virbičianskė, the artist’s figures initially seem to convey imperfection—sometimes aggressively, unsettling the viewer's serene contemplation. Yet these bodies serve as symbols. Using grotesque elements, Pirštelis explores human passions through subtle movements, touches, interpersonal intimacy, and the dynamic interplay of recurring portraits infused with comedic undertones.

“Portraying the human figure is both appealing and dangerous,” Pirštelis explains. “It’s dangerous because it seems too obvious, inherently impactful. I’m not interested in rendering surfaces realistically. It’s likely more about conveying my perspective. Technically and ideologically, I try to demonstrate that 'beauty' can also exist in rawness and unrefined elements.”

The Dramatism of Everyday Life and Myths Among Us

In Pirštelis’s paintings, intercultural contexts and mythological symbols appear as subtle hints. His human figures are imbued with mystical chiaroscuro, while colors accentuate intense emotional moments. The cinematic tension dominant in the Aletheia exhibition suggests that myths, with their tragedies and comedies, are ever-present in daily life—only people tend to conceal their emotions.

“I believe most conscious human actions are dramatic. I doubt we’d question so much if we lived purely by instinct. The project we call life is inherently tied to tension. Striving for anything—whether to achieve, possess, or act—is connected to eros. Desire drives humanity—not necessarily in a physical sense. Crossing the familiar safety line brings us into a ‘danger’ zone, where possibilities or downfalls arise,” the artist reflects.

To Pirštelis, mythological stories mirror humanity’s experience, and he attempts to reinterpret them through the lens of his own life.

Prestigious Recognition in the Film Industry

According to exhibition curator Vilma Jankienė, the works displayed in Aletheia reveal a synergy between Pirštelis’s monumental art and cinematic expertise. In some pieces, a subtle, stained-glass-like glow and mystical space dominate, while in others, gestural abstraction gradually gives way to recognizable motifs, atmospherically charged with a sense of impending resolution.

Pirštelytė-Virbičianskė notes that Donatas is a reserved, multifaceted artist who avoids public attention. After earning a master’s degree in monumental art, Pirštelis created the stained-glass piece P. Vileišis Historical Portrait in 1997 and produced 10 large-scale murals on residential buildings across Polish cities between 1997 and 2003. He also debuted as a filmmaker, directing and shooting two avant-garde short films, Operation (1997) and To Be Thus (2001), which received recognition at international festivals in Germany and Lithuania.

Opting for a career in film, Pirštelis worked extensively as a production designer on international films and documentaries. He became best known as the head of Cineeffects Studio, earning an Emmy recognition for his constructions and designs for HBO’s Chernobyl mini-series.

“Donatas Pirštelis returned to painting gradually, without aspiring to formal recognition. Painting on paper seemed a more democratic and less pretentious medium,” explains Jankienė. Utilizing mixed materials such as lacquer, food coloring, oil, acrylic, spray paints, pastels, and pencils, Pirštelis created expressive and emotionally charged works between 2019 and 2021. These pieces delve into human passions and the mystery of the human experience.

“We are delighted to invite audiences to rediscover this artist after such a long period of silence,” concludes the curator.

Public Mentions

Interview on LRT, national TV Po 20 m. pertraukos į tapybą sugrįžęs dailininkas Donatas Pirštelis kviečia į parodą: tai nuolatinis dialogas su savimi - 2021.06.23 - LRT

LRT radio Kultūros savaitė. Dailininkas - Kultūros savaitė - Apple Podcasts

Interview on AP gallery Facebook acc, Facebook Live | Facebook

„AP galerijoje“ – Donato Pirštelio, įvertinto „Emmy“ padėka, tapybos paroda - Delfi kultūra