Every image can be interpreted as a play - it works like a self-organising principle, not subject to anyone's will. Alongside an excess of static visual forms, we also see on stage a flowing image that, like a magical inversion of reality, opens up the subtext of life to us.
Even in a spectacle with a negative connotation, a positive message can be read out in the theatre. This way of looking at the theatrical elements, their peculiar rearrangement, perhaps even violating their place on the stage, allows us to emphasize and highlight what is most important in them. It is this sensory approach, encompassing both cultural baggage and personal experiences, that is the closest way for me to explore and convey reality in my work.

If the theatre is our reality, then painting is a window to a deeper layer of it. Some parts of the paintings are incomplete, open to every new view, to the permutations of meaning that it brings.

"Dašenkovienė's canvases are filled with gliding horizons, trees painted in separate patches of colour, and human figures stretched out in wistful poses. Very often women. Sometimes a woman alone, frozen in a stark stone sculpture, sometimes drifting in the grass and gazing thoughtfully into the sky, or, like a fairy, waving her flowing hair and ankle-length skirt across the parquet floor of a secret room. Elsewhere, she's a friend. But even then, there is a palpable loneliness in the work. [...] The artist creates much more dramatic moods in her group compositions of figures. Other paintings by the artist have even more obvious links to theatre. Here, drama, with its even stronger spikes of excitement, anxiety, contradictions, doubts and frustrations, marks the entire basis of the work. However, it is obvious that theatre is only an allusion here; the action in the author's works is not stage, it comes from life. Probably from the author's own experience. The figures of people stumbling, on all fours, prostrate or curled up in a ball, are disintegrating in their experiences. Dark shadows are exchanged with shafts of light - hope, promise and faith. Dašenkovienė has a great ability to create the right mood and convey atmosphere, and has mastered the language of colour and form. [...] The author maintains a respectful relationship with the history of art and, at the same time, successfully shapes her individual expression."

Art critic Danguolė Ruškienė

Daiva Dašenkovienė (born in 1972) is an artist who participates actively in joint exhibitions, art actions and plein-air events. She has held 12 solo exhibitions. Since 2021 she is a member of the Lithuanian Artists' Union. Since 2015 she has been working at Klaipėda Drama Theatre as an artist-decorator.