Art

About my Art - Exhibitions, Comments, Ideas

When it comes to art, I have always faithfully followed my inner feelings and convictions… They influenced me to radically change my means of expression when material and form had been exhausted and no longer adhered to the feeling or idea I wished to convey. 

Please call, write, ask: zaigaputrama@gmail.com, +371 29979282


SUNS MEET EACH OTHER
Currently, I paint large (about 150 x 200 cm) and small watercolours with two suns in each. I started in autumn, when lamenting the lasting darkness which had to be outlived. These paintings are meant as a carrier for light and warmth, as support and as a reminder. What interests me is painting two circles, equally mighty and strong, and I take joy in their heightened and beautiful point of contact. Yes, symbolically they could be people, dancing...


DOMINO

My beautiful work Domino has been shown just once - in the International Triennial of Contemporary Art “Rewriting future”, , National Gallery in Prague, Czech Republic (2008). For three months people played joyfully with my glass bricks.   
https://www.youtube.com/watch?v=rRV0s8wbTZE 

The frazes on the briks were taken from what my friends would like to hear most from their loved ones –  you can fly, walk with me a while, it will all work out, I wish you were here, I have found you, you surprise me, you are beautiful, well done, super idea, I'll guard you always, we are conected, I love you.

SPRING COME!
The Calling Spring exhibition (Riga Museum of Applied Art and Design, 2006) was an attempt to express the craving for, understanding of and insights into substantial changes in perception and thinking, the ones inevitably demanded by the modern times. For ten consecutive days I barely got out of the museum, offering people to try out a basic exercise from Argentine tango where you have to touch the other person gently with your hand to get a feel of them. I was shocked by how afraid and unwilling the people were to experience this wonderful union – not all of them though.

‘I haven’t met anyone so bravely and, to an extent, desperately willing to die and be born again for yet another time. These transitions from one phase to another are barely distinguishable from the turning of ages or mere personal growth.’ – Elita Ansone, Māksla Plus, 2006/5.

‘I watched and enjoyed. The feeling I experienced (and it was very strong feeling) was one of joy.
 It came from flowers, from yourself, they are painted with joy, and you show them joyously to others and somehow imbue them with your love of the tango (the tango tells much about the character of your joy).It is not an ordinary joy, it is deep and long lasting, not too intense, not too subtle - there is something like passion in your joy (with a hint of the eroticism of the tango) and also there is expectancy, because this joy you have now does not end but gently transfigures, as spring merges into summer.’

Inguna Andzane, a spectator of the exhibition “Spring come!", 2006.


SOME POEMS

I took apart my dresses, sewed them together into an even canvas and embroidered poems on them. This exhibition was called ‘Some Poems’ (1999, Jāņasēta, Rīga).  When it finished, for about a month I felt like it had completely drained me of myself, leaving only a fragile shell. When on a crowded bus, I was pretty much afraid to get squashed. For real.

Five years later in London, I met a Latvian girl on the street and she said, ‘That exhibition changed my life.’

PASSAGE
In 1995, after a long time of not being able to find the right material to work with, I stumbled upon metal wires on sale and quickly realized this was it. I bought the whole stock and it turned out enough for the following six years. This is how easily my metal series was born. The series also gained most international recognition among my projects, being awarded a gold medal at the 1996 International Textile Art Triennial in Lodz.

WOODS

After I graduated from the academy I have produced eight or nine large tapestries composed of cloth stripes. My favorite one is called Woods; the 4 m high, 1.7 m wide piece was made in 1987, embodying everything gigantic – both personal and public – in the wake of the staggering changes that would soon unfurl.

‘Artist Zaiga Putrama in her artworks has always tried to break old conceptions and create new ones that correspond with the current epoch.
 Her recent exhibitions involve audience in the process where interaction between creative expressions of different groups or individuals is the essential element.
 She is one of the most interesting contemporary artists in Latvia and has also gained high international recognition. She is always in process of development.
 The Latvian National Museum of Art highly values her contribution to the investigation of contemporary art process and recognition of its importance for the society by showing her ideas in multiform artwork, pedagogical work, publications and social activities.’ Elita Ansone, The Head of the 20th Century Second Half Latvian Art collection, 2006.


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