Viltė Fuller, born in 1996 in Klaipėda, Lithuania, is a London-based artist whose paintings delve into the complex interplay of technology, human identity and cultural narratives. Her work is deeply influenced by her Lithuanian heritage and the representation of Eastern European identities in media, often reflecting on the lingering effects of the Soviet era and how past political systems continue to influence personal and cultural identities.
Fuller’s paintings frequently portray figures and objects in states of metamorphosis, embodying the tension of being ‘stuck in transition.’ This fluidity blurs the boundaries between the animate and the inanimate, reflecting on the malleability of identity and the often surreal integration of technology into the human experience. Objects in her work appear fused with human forms as though caught in a moment of radiation-induced mutation or technological decay. By morphing humans into objects and vice versa, she questions the essence of personhood and the commodification of the self in contemporary society.
A distinctive feature of Fuller’s work is her deliberate and nuanced use of the colour green. Traditionally associated with nature, health and renewal, green in her paintings also evokes sickness, contamination and nuclear exposure. It recalls the eerie glow of night vision cameras, toxic waste and the washed-out green of Soviet-era institutional walls; a colour used due to surplus military paint intended for tanks. This contradiction between life and toxicity runs through her work, reinforcing themes of mutation and environmental degradation.
Fuller’s work conjures a world that is both unsettling and strangely intimate, inviting viewers to consider how history, technology and conflict shape personal and collective identities. Caught between past and future, human and machine, organic and artificial, her paintings present a vision of existence that is constantly shifting, never fully one thing or the other