The name of Galius Klicius could have been seen by the viewer in many titles of cinema films and theater posters - much earlier than in the art galleries' invitations to his exhibitions.
In his youth, at the end of scenography studines in 1973, In Vilnius Art Institute (now Vilnius Academy of Arts), he began collaborating with directors in capital's theaters, has created scenography of more than thirty performances in theaters of Vilnius, Kaunas, Klaipeda, Siauliai and Panevezys. Five years later, an intense and long-lasting work in the field of cinema has begun. The work of scenographer in film is very important. G. Kličius himself is summarizing briefly that the things that the viewer sees on the screen is determined by the role of a scenographe, how the viewer sees it is determined by an operator of the sight, actors‘ roles and the nuances of the performance - this is the will of the director, and the whole is the fruit of the contractual work.
Galius Klicius is recognized as a master. He has contributed to more then a few films belonging to a Lithuanian filmmaker's golden fund. He has been working with our most prominent directors, as well as German, English, Hollywood producers, he is acquainted with the cinema of different nations. He has won several Silver Cranes for his creative work in the best Lithuanian films and has been awarded with prestigious government awards.
However, for Galius Klicius collective cinema is not everything. He has always felt cravings for painting, and since 1993 he started painting more seriously and created his own artistic world in paitings. His paintings are conceptual, but in a sense other than contemporary so-called "conceptual arts", it is not worth looking for something that would not yet be found in art history. In the style of G. Klicius' paintings, one can also see the reflections of post-Impressionism, Cubism and Symbolism. In music terms, Galius Klicius' painting does not sound like a forte or fortissimo, but rather a mezzopian, not a presto, but rather a andante moderato. There is no screaming, no sharp color, canvases are not shredded with a big brush ... His restrained painting language, like a smoke-colored palette, is probably not an example of the so-called Lithuanian color school, to which the artist probably does not invoke.
In these paintings by G. Klicius, solo or duo singers do not have clearer personal or social features, rather they resemble commedia dell 'arte or circus characters. They are just an image, hinting about the duality of human existence, when a comic mask often hides a sad and enduring face. This existentialist subtext is felt in a grotesque of paintings by G. Klicius's. And in that lonely waters, like a fisherman's figure in a cradle, it is as an allegory of the artist himself, trying to quench a silver fish of perfection.