Autoportrait no. 4 1985

Editor: Here we have Šarūnas Sauka's "Autoportrait no. 4" from 1985, made with oil paint. It's…intense. The face is so raw, the dark tones are unsettling. What's your take on this work? Curator: Sauka created this in Lithuania, during a time of Soviet control, so the historical and socio-political context is critical. The grotesque, distorted self-portrait speaks to anxieties about surveillance and repressed identity, which was commonplace during that period. Notice how the face, although ostensibly his own, becomes a symbol of the collective suffering and dehumanization under oppressive regimes. Do you see how the style mirrors elements of German Expressionism? Editor: Yes, now that you mention it, I do. There’s that same… exaggeration and emotional intensity. It's as if the artist is laying bare the psychological impact of living under a totalitarian state. It definitely connects to the political in a new way now. Curator: Exactly. This painting is also commenting on the role of the artist in society. Is the artist merely a portraitist or also a vehicle for social commentary, bearing witness and conveying the collective experience through imagery? Editor: I guess it's both here! It is clearly communicating historical, political and societal observations. The single tear says a lot about it! It looks extremely current even though it was painted decades ago. What would you say is its impact on public view, in a museum space? Curator: The impact is significant. "Autoportrait no. 4" invites viewers to engage critically with history, prompting reflection on power structures and resistance, even now. Understanding the era from which it was conceived gives a fuller picture to our interpretation, shifting it from simple portraiture to active commentary. Editor: So much to think about! Thanks for clarifying those critical historical components of the artwork.