The paintings by Donata Minderytė in the exhibition are based on her PhD research, which both practically and theoretically grapples with "untranslatable" images and explores what happens when they are translated into contemporary painting. The cinematic term Jump Cut suggests a certain gap between theory and practice, referring to the cinematic borrowings in the paintings, which appear in some places as direct quotations, in others as almost intangible compositional or colour signals. Jump Cut refers to the "rift of untranslatability" that appears in the paintings, like a leap in time, skipping the narrative, moving away from the intellectual content and turning to the parameters offered by the painting itself, the limitations of expression and yet openness to interpretation. The fundamental aspect of painting is silence. To paint is to take experiences out of context, to translate them into a tangible form, but in the process of translation, as one encounters the connotations and historical baggage that surround the motifs, microsounds begin to emerge in that silence, and the range of the whispers they emit is conditioned not only by the artist-translator, but also by the receiver. Meanwhile, it is still not possible to speak only about painting.