In art history and philosophy, the surfaces of the meaning and content of the object, of the landscape, are usually examined from a phenomenological perspective. As if they are always hiding something, and this is of course a real possibility of analysis, especially in our psychological age. Often the object, the landscape, is left to be analysed as the brutality of surfaces and with the sign of banality. I don't think either of these possibilities is appropriate in Antanas' case, because his other series of works show a rich palette of figurative narrative or clear abstractions. So this exhibition requires a different reading, like a decoding of a dentist's letter. Manding's language revolves around transcendence! In Germanic languages, the word surface has a prefix that denotes verticality, an elevation above existence. If we remember the Kantian epithets, this transcendence could be called not only pure but even raina. The pointillist transcendence of Anthony Jasenka has its own rhythm and mood, which is both minor and minor. Perhaps it is a coincidence, but today, when war is breaking out and the material world is losing its weight, these rainy surfaces speak in a special way about life and death, joy and pain.
Philosopher / theologian Ervinas Koršunovas

You can find Antanas Jasenka's work at the following places:
SoundCloud 
Lithuanian Music Information Centre's web site