I Wish I Could Tell You About the Field Fares This October

Field Fares is a synthetic conversation that never took place. Across the work, a generated version of the artist speaks with imagined younger versions of her previous generations, drawn from photographs and 8mm films made in Lithuania during the Soviet occupation of the 1960s. The voices and faces are produced by models trained on the family archive, on era-specific imagery, and on the artist's own likeness. The project is an attempt at extending the history instead of reconstructing it.

The conversations ask what it might mean to address a previous generation with knowledge they could not have had, of Lithuania arriving at independence, yet a couple decades later watching a new war begin on a neighbouring border, and that the freedoms that arrived might not stay arrived. 

The deepfake is treated as an instrument of care. It addresses the passed away across a fabricated proximity that is honest about being fabricated, and listens back. Patterns and details surface from inside the data and are returned by the model as quiet residue, neither prompted nor invented from outside.

Field Fares proposes that synthetic media, openly declared as such, can extend an archive rather than close it. It is not a reconstruction of the past but an imagined alternative history, a chronology that runs parallel to the recorded one, where the question is not what happened, but what it would mean to relive a youth already knowing how the century would turn, and to know, from the other side of that century, that wars end and others begin. Inspired in part by Jonas Mekas, who carried his Lithuanian identity into exile and built a life of artistic freedom abroad, this work reflects on displacement across time rather than geography.