Judita Juknele
"My name is Judita Juknelė, and I’m a fine art photographer based in Vilnius, Lithuania.
I discovered fine art photography in 2022 and instantly fell in love with its ability to express emotion, thought, and imagination in such a personal and profound way.
Although my journey in this field is still quite new, it has already been incredibly rewarding.
In 2023, I had the opportunity to present two solo exhibitions at the Jonava Cultural Center.
In 2025, I was honored to receive 1st place in the Annual photo competition on the 500px platform, which connects over 18 million photographers worldwide.
That same year, my work was featured in the Al Tiba9 virtual catalog, and one of my works
was selected for the upcoming international group exhibition A SCIENTIFIC APPROACH: Visual Documents and Creative Investigation Methods, curated by LoosenArt.
For me, photography is more than a visual medium—it’s a way to explore the quiet poetry of life, to reveal what often goes unnoticed, and to invite viewers into a world shaped by emotion, curiosity, and reflection."
Website:
Instagram:
@fotoeilerastis
The story of one house, 57x38.7cm, Photography, 2025
"The motif of windows — thresholds between the inner and outer world. Each scene glimpsed through these frames is a surreal vignette of longing, absurdity, intimacy, or stillness. The house becomes a metaphor for the mind: every room a chamber of thought, every window a waking dream.
Through these works, I invite the viewer to recognize themselves — not in the literal sense, but in feeling. To pause, reflect, and perhaps see their own wildest dreams flicker behind the curtains."
The philosopher of vegetables, 122,8x118cm, Photography, 2024
"It is a contemporary reimagining of classical still life and portraiture—a collision between the solemnity of Dutch Golden Age aesthetics and the quiet absurdity of modern existence.
With a steady gaze and unruly hair, man stares into the viewer—not pleading for understanding, but commanding contemplation. The fork in his hand pierces a single onion, held upright like a scepter or a sacred object. The symbolism is layered: intellect meeting earth, the cultivated mind confronting the raw material of life.
The rich textures—the velvety fabric, the pale skin, the matte sheen of produce—evoke painterly traditions while subverting their hierarchies. Vegetables replace jewels. Decay, not perfection, becomes beauty. The scene is lit like a Rembrandt but composed like a satire: a still life that breathes, a man who has become both the subject and the object of quiet parody."
What We Leave Unseen, 54,8x45cm, Photography, 2025
"In this staged moment, two versions of the same woman reach into a framed image with identical poise and purpose—cleaning not just a surface, but something more elusive: the trace of who they once were, or who they’ve tried to forget. As they wipe the picture with green cloths, they uncover what appears to be a hidden mirror. But this mirror doesn’t return their gaze. Instead, it reveals a third self—seated, silent, and hiding behind the very napkin now being used to clean.
The figures in red dresses symbolise duality: conscious and subconscious, memory and denial, the self we perform and the one we protect. The act of cleaning—a mundane task—becomes ritualistic, almost sacred, as they confront a self too raw to face directly.
By engaging with the image as if it's both canvas and mirror, the figures collapse the boundary between art and viewer, subject and self. The image invites us to ask: What do we uncover when we try to clean ourselves up? And what if what we reveal is not a reflection, but something we were trying not to see?"