VIEW IN MY ROOM
Latvia
Installation, Textile on Paper
Size: 17.7 W x 90.2 H x 0 D in
Ships in a Crate
The sculpture “Crying Lace Woman” comes from exhibition “Invertebrates” which was based on the experience of a significant group of society. A large part of Latvian children grow up in separated families. Most single parents are women. Many of these women and children are at risk of poverty. Most of them do not have the opportunity, time or desire to speak or depict this difficult experience. It is considered shameful. Some families find it necessary to distance themselves from the shameful, shapeless formation – a single woman with a child - and pretend that they are dead or non-existent. Women isolate themselves because they do not want to get infected with monoparenting virus. Men dissociate themselves automatically, as if these women had ceased to exist, dissolved into ectoplasm. Women with children disappear from family conversations and support networks. These are works of heartache, love and revenge. The history of the origin of the works and the emotional code that justifies and explains their existence is personal and intimate. It was distributed to the audience in scented old pink envelopes, which they were able to open at home and read, crying, shocked and lonely as stumps. In the symbiosis of sculptures and paintings, references to sacred art can be seen in a distorted, doubt-tormented, post-faith way. Paintings that flow out and transform into sculptures, articulated sculptures that can come to life as puppets, they conquered the magical third floor room at Alksnāja Street 16, Riga, using zero waste materials - paper, textiles, found objects, gifts, household tools that the artist does not know how to use. Following the best romantic traditions, Invertebrates can be called an exhibition - vendetta, stories in the Baroque and Gothic spirit. Hoping that all the undercared children will grow up freely and happily, despite shabby clothes and the lack of attachment networks in childhood.
Original Created:2020
Subjects:Women
Materials:PaperSoft (Yarn, Cotton, Fabric)Other
Mediums:TextileFound ObjectsPaper mache
Multi-paneled Installation:Textile on Paper
Original:One-of-a-kind Artwork
Size:17.7 W x 90.2 H x 0 D in
Number of Panels:2
Frame:Not Framed
Ready to Hang:Not applicable
Packaging:Ships in a Crate
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a wooden crate for additional protection of heavy or oversized artworks. Crated works are subject to an $80 care and handling fee. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:Latvia.
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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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