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Latvia
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10 x 10 in ($42)
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White ($80)
Remembering the death helps to appreciate the beauty of life. Work series about Lady Death begun with a fascination with Mexican culture and European myths. I learned that the best way to overcome the fear is to stay and look into the eyes of Lady Death. I loved the idea of Santa Muerte cult, I did not see the replacement of Virgin Mary with Santa Muerte as a blasphemy. I saw it as a wonderful philosophical concept, a reminder of how close are life and death while we live. Life without death would have no meaning. Without life, death would be unthinkable. As C. P. Estes beautifully said, one has to get to know Lady Death in order to be able to love truly and deeply. In this light one does not see Death as something terrifying anymore, in this case she is a keeper of eternal wisdom. In this painting Death is depicted as an old fashioned lady, she stands baroque and fragile in cold winter landscape. She is looking for a new apprentice, she is weary and lost on her long lonely road. She has met a mysterious companion, a new apprentice, perhaps, and nobody knows what will happen next.
Print:Giclee on Fine Art Paper
Size:10 W x 10 H x 0.1 D in
Size with Frame:15.25 W x 15.25 H x 1.2 D in
Frame:White
Ready to Hang:Yes
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Art prints are packaged and shipped by our printing partner.
Ships From:Printing facility in California.
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My love for printed words is so strong that I make paintings and sculptures from orphaned books. I add different sorts of paper, textile fiber and found objects and treat this mixture as if it was a marble mine. I regard all human-made commodities as the raw material of the 21st century, they add opulence, playfulness and weirdness to my objects. My sculptures are hybrids - installations, huge marionettes and idol figures. I overcome gravity using a technique from marionette theater. Sculptures float in air and strings make them alive. I paint because I'm volatile. I catch all my demons and fears with a brush, so they are not threatening anymore. I'm hesitant, that's why I paint portraits in real time. Models don't have to speak. Sometimes I lay paintings in a horizontal plane, like huge rolls of parchment. The public can touch it, walk and crawl on it, contemplating the importance of daily grounding. I'm a mystic. I borrow deities and create semisacred, eerie spaces where sculptures, paintings, words and animation merge in a numinous, baroque amalgam. I love the tactile. My objects are sensuous to touch. I love word constellations, so there are collections of short stories to accompany the visual work. In a courageous mood, I transform stories into puppet performances and collaborate with theaters and musicians.
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