Inside Triadic Manifesto: Gytis Gedvilas on Movement, Transformation and Art

In Triadic Manifesto, RED-EYE explores the relationship between the human body, space and form through fashion, movement and transformation. Inspired by the principles of Oskar Schlemmer’s Triadic Ballet, the editorial reimagines the dialogue between performer, environment and geometry through a contemporary lens.

At the centre of the story is Lithuanian visual artist, model and former dancer Gytis Gedvilas, whose creative practice moves between fine art, performance and fashion. Bringing his instinctive understanding of movement to the shoot, Gytis transforms with each look, using the body as a language and the camera as a space for experimentation.

In our interview, he reflects on dance as his first form of expression, the human need for movement in an increasingly digital world, and the moment during the RED-EYE shoot when he felt himself disappear into a new character. He also opens up about his paintings, his creative life between Lithuania, Italy and Paris, and his ambition to bring movement, fashion and visual art together in immersive new forms.

Read the full interview with Gytis Gedvilas and explore the complete Triadic Manifesto editorial below.

Hat by Oriane Belenfant, Dress & Shoes by Alain Paul, Pants by Ken Gongyuan Xie

Before you became a visual artist and model, dance was your first language. How has movement shaped the way you express yourself today, whether in front of a camera or through your artwork?

Stamina, rhythm, ability to envision my body in my head all the way to my fingertips (or at least try) would just be a few to name. I remember when I was very young my dancing coach always reminded us to be aware of all our body parts no matter how big or small as they are the extensions of the language we speak - movement. In this way, the sensitivity can find its release and be really transported through the body to a viewer. I think as an adult, I shaped my work in a similar way in fine arts, or if I'm let loose on set - edge of intensity, body language as a key symbol, control, explosive release and expressiveness.

Dance has always been a powerful form of self-expression. In a world dominated by digital images and social media, do you think movement is still one of the most authentic ways to communicate emotion? Why?

It is so human that explaining it seems like explaining goosebumps when you hear that special song. Why and how it happens is a bit of a mystery, yet it is coded in our DNA and history. Movement is essential to us. If you have the ability to stand and dance around like no one is watching, that can ultimately change the trajectory of ur day or mood. This way you get to express what is primal, what is stagnant inside and can't be put into words. Technology is so over-consuming and simplifying the basic needs of our society to the point where it is becoming scary. I do not desire to be fully dependent on it, yet I see benefits of this technological world too. I try to adapt to it mindfully as much as possible without numbing myself.

Sleeves Piece by Seungumin Bang, Bottom piece by Transe Paris

During our RED-EYE shoot, did you feel creatively inspired? Was there a moment where the concept genuinely connected with your own lifestyle or artistic vision?

It was definitely an inspiring journey through fashion and transformation. I rediscovered in the past year how I'm connected with this industry personally. I desire transformation. To loose yourself in a new character through makeup and clothing is so activating and cool. I definitely got to play with it during this shoot. People are sometimes surprised by how many

colors I can expose when I'm truly moved and in the moment. That moment for me was truly the last outfit on set. Somewhat distorted and weird, intense and sharp yet almost comical, that dark energy swept me away and cleared the space for someone else to come through. Whilst I was sitting in the makeup chair being masterfully painted and redefined by the makeup artist and hairstylist, I knew that this spoke to me somehow, the outfit tied it all up together.

Every look tells a different story. If you had to associate one emotion with each look from the editorial, what emotions would they be? Which look resonated with you the most, and why?

Every set carried such a specific fashion statement in itself. First look feels like a joyful flirtation to me. The look where I'm engulfed in a bubble shape, yellow and pink colors create this intensity and focus. The third look is so theater-coded, extensions on the pants twirling around , this feminine masculinity combined with something from the last century speaks of impermanence to me. The last look felt like a movie scene. I sensed quite a bit of irony there, a little fever dream that I might have loved the most.

Your work moves between fashion, performance and fine art. Where do those worlds naturally meet for you, and where do you like to challenge their boundaries?

I think about it as a ritual and performance. I'd say that's where it all could meet for me. I love to transport my consciousness through different outlets in a way that at the end I actually learn and adapt more in my own body and mind. I get surprised as well. I crave to see how my universe can affect another human too. Painting is a slow birth process that no one actually sees until I decide to share the backstage world of it, but really it matters most how the painting in the final form manages to effect the viewer and me too as I am assembling this puzzle that might hold more questions than answers for a while - that in itself erases any boundary before me. To fully realise my vison I must let go and give in with ultimate blinding trust.

Your paintings often leave room for interpretation rather than offering clear explanations. What is your approach? Allowing viewers to create their own narrative?

I follow instincts mostly. In my experience paintings come to life in several different pathways : sometimes its very clear from the beginning, sometimes I just have a tree branch that I cling to , I assemble the whole tree later and other times I'm just studying and scrambling for ideas. Writing is a key element to capsulate them, but I know at times I can be radical and change the trajectory of the artwork if it doesn't flow well. Im still a student and I know I will always be in this craft - that's why I love it. As far as explanations go I enjoy talking about techniques, process and alchemy of creating and crafting as much as inspirations and ideas, but I guess I like to keep it to myself nowadays more, unless I'm really asked about it. I don't desire to burn out the viewer's mind as they engage with my universe for the first time.

Look by Issey Miyake, Shoes by Alain Paul

You’ve lived and worked across Lithuania, Italy and now Paris. How have these different places influenced your creative identity and the way you see beauty?

It all serves as an expansion. I am an observer, I find humans strange and bizarre at times. Watching their behaviors change depending on the culture, history, and idelogy definitelly adds to it. Beauty as a word falls flat in containing all that there is to understand for a human. We all have our own way to see it, and I get excited to hear those different versions from others and I hope it leaves a footprint in my creations.

Looking ahead, what’s a dream collaboration or artistic project that would allow you to fully merge movement, fashion and visual art into one immersive experience?

For this I'd say building a performance on stage feels very satisfying and fulfilling. A year ago I had the pleasure of building a stage design and dancing choreography for an amazing Kluster Collectif performance. I had a few months to build and organize and I went nuts with it in the best way possible. It became a 2 hour long ritual ! I'd love to expand there more in the future and I have a dream of one day opening the doors to my personal gallery where paintings, sculpture and the space around it will create a unique viewing experience for people.

Talent: Gytis Gedvilas @gytisgedvilas @thefaceparis

Creative Director & Producer: Kwe3n (Andreea Sermoneta) @kwe3n

Editorial Director: Daniel Face @danielface_

Editor in Chief: Gloria Maria Cappelletti @gloriamariagallery

Photographer: Matthesun @matthesun

Stylist: Arinka Dorsis @arinkaaadorsis

MUA: Alice Behrens @alice.awqnder

Hair Stylist: Romain Salvaggio @romainsalvaggio_hairartist

Creative Assistant: Anna Billon @anna_billon

Stylist Assistant: Smilla Fia Cisar @smillacisar

Photographer Assistant: Stefan Makarevich @stefan.mkrrr

Light Assistant: Romain Boston @friendly_guilty

Production Coordinator: Lucas Nicolosi @er_picapau

BTS Videographer: Sasha Slishcom @sasha.slishcom

Special Thanks to Creative Concept: Nooounee @nooounee & Bleach Studio @bleachstudioparis

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