The Lithuania Tribune interviews Linas Kaziulionis, a young but already renowned Lithuanian artist known for his strong messaging and deeply symbolic works which explore conspiracy theories, propaganda, and the distortion of truth.
Even though very young, he is a highly acclaimed artist who has garnered recognition as the first-place winner of the “Young Painters Prize” (2022) as the best painter in the Baltics and the esteemed “MArteLive Europe” prize (2022), awarded to him as the best street artist (muralist) in Europe. With a Bachelor’s and Master’s degree in Painting from Vilnius Art Academy and the reputable professional artist status granted by the Ministry of Culture of the Republic of Lithuania, Kaziulionis has established himself as a prominent figure in the art world over the past decade and is on the way to becoming part of Lithuanian Art History. Having exhibited internationally, he is sharing a bit of his art and current projects, as he is also in the process of creating an artist residency to help other Lithuanian talents and to bring the name of Lithuania to the world, Liudvikas Jakavičius writes.
Your art merges classical painting with modern street aesthetics. What draws you to this combination, and what does it allow you to express that traditional forms do not?
I’m fascinated by both worlds – classical painting and modern street art – because of their similarities but also their huge differences. Maybe that’s why I’ve never limited myself to just canvases or just murals. Painting allows me to delve deeper into ideas, to create in a more intimate and freer way, while mural art excites me with its playfulness, its massive scale, and even its extreme conditions – for example, I once painted a 27-meter-high building. It’s precisely this contrast that attracts me: what I can’t experience in one field, I find in the other. This continuously enriches me both as an artist and as a person.
Many of your works explore conspiracy theories, propaganda, and the distortion of truth. What inspired you to address these themes through visual art?
This topic became relevant to me during the COVID pandemic when the world stopped, and various conspiracy theories began to emerge. Even people close to me started expressing strange opinions, so I decided to dig deeper into how such beliefs form and why people are drawn to them. This became the main theme of my master’s thesis. At first, it seemed like an interesting phenomenon, but soon I realized that the manipulation of information can have serious consequences for individuals and society as a whole. This is a particularly urgent issue in today’s world, where we live in an age of information overload. Information spreads at an unprecedented speed – it multiplies every second, changes, and becomes both entertainment and a weapon.
Conspiracy theories may seem funny at first glance, but when people start changing their behavior, decisions, or even their lives based on them, the consequences become serious. I believe that people are overwhelmed by the excess of information and often lose the ability to discern. Through my art, I want to draw attention to this problem.
I believe that a strong message does not have to be presented in a dark or gloomy way. A bright, bold aesthetic attracts the eye, and only then does deeper reading begin. Also, I don’t explicitly say “what is what.” I don’t condemn those who believe in conspiracy theories, but I don’t promote them either. My goal is to give the viewer space to form their own interpretation while encouraging critical thinking and fact-checking. In general, reactions are often quite similar – people initially see the work as playful or even humorous, but later they start to dig deeper, reflect, and discuss.
I’m glad to spark curiosity first and then direct attention to more serious topics.
The Controller series created a fictional narrative that felt eerily real to some viewers. Were you surprised by how seriously people took it—and what does that say about our relationship with information today?
“Kontrolierius” began as a creative social experiment. Inspired by the structure of conspiracy theories, I created a fictional story about a substance supposedly used to poison milk – and later other food products – to make people obedient to the authorities. This substance was called “Kontrolierius.”
It was entirely my creation – only I knew it was fictional – but through painting, I presented it as if it were real. I wanted to show how easy it is to believe in fiction when it’s presented convincingly. At the same time, it’s a reminder of how important it is to check sources, verify facts, and not fall for emotional manipulation.
How does the context of a mural—its physical location, cultural background, or political environment—affect the way you develop your message?
The physical location, surroundings, and surrounding architecture have a huge impact on my work – this is very important from the very first stages of creating sketches for a wall. I don’t want new paintings to overshadow the architecture or local environment, so I try to make my work blend into the surroundings, to look as if it has always been there. But there are also places where, on the contrary, the space seems to demand a lively, dynamic object that breathes new life into it. So context – the physical place, cultural background, and political environment – is extremely important to me and influences not only the message but also the form of the artwork.
You’ve worked in cities like Vilnius, Paris, and New Delhi. How do international audiences respond to your work compared to those in Lithuania?
I’ve held quite a few painting exhibitions internationally, so I have plenty to compare. One thing has become absolutely clear to me – at exhibition openings abroad, people are very open and curious. You can talk with each of them for hours: they are interested in everything – from painting techniques and ideas to personal details about the artist. They want to get to know the artist from all sides. These aren’t just a few random people but a large part of the visitors. Later, they start following me on social media, exploring my previous works, even asking for autographs. You can feel that when they are interested in something, they are in it one hundred percent. I find that very charming, so I am happy to share information and at the same time learn a lot about them.
In Lithuania, I notice a somewhat different relationship. People tend to explore the art calmly and quietly – they read the exhibition descriptions carefully and delve into the works independently. Only a few braver ones approach me personally. And that’s not bad – it’s just a very noticeable difference between these experiences.
Speaking of mural art, reactions are generally quite similar regardless of the country. When painting in the street, in public spaces, various conversations often occur – people say “cool,” “great,” “nice,” ask what I’m doing, stop by, sometimes ask to take pictures. So from this perspective, I can say that reactions to street art are very similar no matter where I am.
What is your creative process like when developing a new project? Do you start with a message, a visual idea, or a feeling?
My creative process depends a lot on the project itself, as well as my mood and the moment of inspiration. I don’t have strict rules – the creative process is always different. Sometimes an idea comes from an inner feeling, sometimes from a message I want to convey. There have been times when I’ve sat with a sketch for weeks unable to find the best solution, and other times when one day it just hits me like a flash of light, and everything becomes clear. Thanks to my accumulated experience, I now mostly rely on my intuition. I never create by force – if something isn’t coming together, I wait for that special moment when everything falls into place. It’s important to me that the work feels alive and authentic, so I allow myself to work according to a natural rhythm.
Do you believe artists have a responsibility to educate the public on important topics through their work?
I think yes – artists can have a responsibility to educate society, but it’s not mandatory. For me personally, it’s important that both my paintings and murals carry a message, a clear idea. When I look at other artists’ work, I seek the same thing – deeper meaning, a theme that makes me think. I’ve noticed that when an artist creates without a clear idea or theme, their works simply “pass by” – they might be beautiful but don’t leave a deeper impression. The audience can sense this, and I believe that the message gives the work real weight.
Finally, what’s next for you? Are there new themes, cities, or collaborations you’re especially excited about?
This theme – conspiracy theories, information manipulation, propaganda – still fascinates me. I want to continue exploring it from different perspectives. The content direction will remain, but the forms are changing – I plan to give more space to experimentation. In the near future, I will present my work on this topic in a solo exhibition at “Tumo Gallery” in Vilnius, at “Jakobi Gallery” in Tartu, Estonia, as well as in group exhibitions in Japan and Belgium. My works will also be displayed in several hotels – “Moxy Kaunas” and “Radisson Collection Astorija” in Vilnius.
Speaking of mural art, I have many projects and collaborations planned with embassies in Finland and Azerbaijan, as well as with well-known Lithuanian brands. Some projects are still in their early stages, so I don’t want to reveal too many details – often, when plans are shared too early, they change. So I invite people to follow me on social media, where I share all my creative news.
And finally – I want to share very exciting news: together with my wife Evelina, we recently purchased a building where, over the next few years, we will establish an artist residency. A lot of work awaits us – from renovations to creating the art program, attracting artists, and launching this new space. It’s a big and inspiring project that I can’t wait to begin.
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