Jonas Motiejus Meškauskas (b. 1998) is a visual artist working primarily in painting. His practice employs a distinct methodology: the use of “trash” cardboard as a material, monochromatic expression, and a fragmented image archive grounded in a playful and mildly anarchic attitude.
Rather than producing individual paintings, he builds a network of works reflecting the sensibility of the post-internet generation, engaging with a global digital archive while resisting it through unconventional materials and rough techniques.
Each photograph functions as a sign or catalyst that reactivates photographic traditions in painting via a cultural cross-section relevant to today’s generation. This anti-methodology highlights the networked nature of contemporary culture, inviting interpretations of his work as an intertwined system of images and an active process of visual thinking where both content and context matter.
Jonas Motiejus Meškauskas (b. 1998) is a visual artist working primarily in painting. His practice employs a distinct methodology: the use of “trash” cardboard as a material, monochromatic expression, and a fragmented image archive grounded in a playful and mildly anarchic attitude.
Rather than producing individual paintings, he builds a network of works reflecting the sensibility of the post-internet generation, engaging with a global digital archive while resisting it through unconventional materials and rough techniques.
Each photograph functions as a sign or catalyst that reactivates photographic traditions in painting via a cultural cross-section relevant to today’s generation. This anti-methodology highlights the networked nature of contemporary culture, inviting interpretations of his work as an intertwined system of images and an active process of visual thinking where both content and context matter.
Jonas Motiejus Meškauskas (b. 1998) is a visual artist working primarily in painting. His practice employs a distinct methodology: the use of “trash” cardboard as a material, monochromatic expression, and a fragmented image archive grounded in a playful and mildly anarchic attitude.
Rather than producing individual paintings, he builds a network of works reflecting the sensibility of the post-internet generation, engaging with a global digital archive while resisting it through unconventional materials and rough techniques.
Each photograph functions as a sign or catalyst that reactivates photographic traditions in painting via a cultural cross-section relevant to today’s generation. This anti-methodology highlights the networked nature of contemporary culture, inviting interpretations of his work as an intertwined system of images and an active process of visual thinking where both content and context matter.
Jonas Motiejus Meškauskas (b. 1998) is a visual artist working primarily in painting. His practice employs a distinct methodology: the use of “trash” cardboard as a material, monochromatic expression, and a fragmented image archive grounded in a playful and mildly anarchic attitude.
Rather than producing individual paintings, he builds a network of works reflecting the sensibility of the post-internet generation, engaging with a global digital archive while resisting it through unconventional materials and rough techniques.
Each photograph functions as a sign or catalyst that reactivates photographic traditions in painting via a cultural cross-section relevant to today’s generation. This anti-methodology highlights the networked nature of contemporary culture, inviting interpretations of his work as an intertwined system of images and an active process of visual thinking where both content and context matter.
Jonas Motiejus Meškauskas (b. 1998) is a visual artist working primarily in painting. His practice employs a distinct methodology: the use of “trash” cardboard as a material, monochromatic expression, and a fragmented image archive grounded in a playful and mildly anarchic attitude.
Rather than producing individual paintings, he builds a network of works reflecting the sensibility of the post-internet generation, engaging with a global digital archive while resisting it through unconventional materials and rough techniques.
Each photograph functions as a sign or catalyst that reactivates photographic traditions in painting via a cultural cross-section relevant to today’s generation. This anti-methodology highlights the networked nature of contemporary culture, inviting interpretations of his work as an intertwined system of images and an active process of visual thinking where both content and context matter.