The Art Magazine June 2020 | Page 167

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So substantially i can say that it depends on the project/artwork, rather the memory is starting point, or i use the collective memory as some sort of satire. But i guess.. It is a crucial part of any artist, as the memory is our own hard-drive (joke) where to collect impressions.

What is the role of technique in your practice? In particular are there any constraints or rules that you follow when creating?

Well.. in the beginning of my studies it was the most important thing! I had to push myself to the limits, meaning sizes of the works, heavy plaster molds, a lot of glass grinding and polishing, making tons and tons of models from „lampwork” etc. I admit that my work was very technical. It changed in the beginning of my master studies, i realized, that i can do a lot, i'm capable of working hard, but what about the idea of the work(?) does all this technique helps it(?) Does it helps me to deliver the message(?) or is it just for creating an visually attractive peace? It made me think harder and stop for a while, i understood that at this point it is more important for me to suppress the material and let the idea shine, so I started to work with synthetic materials more and felt free to experiment. Basically i tried to delete all of my concerns and past anxiety, to be able to concentrate on what's really important.

How do you see the relationship between emotional and intellectual perception of your work? In particular, how much do you consider the immersive nature of the viewing experience?

In my artistic practice, i try to create peaces, which are multifaceted, so that a lot of wievers can experience them, depending on their ability, mood and other factors present during exhibition period. I mean this sincerely, as i'm not that nihilistic type, that wants to show how smart they are and no one else can’t understand they brilliant minds. I find contemporary art challenging not only to audience, but to artists as well, i don't understand all of it, at all of the time, and i'm not afraid to admit it. Being an artist for me is also helping the viewer in the way i can, for example, give some hints about your work, like the name of it, a brief sentence about it, something that can get the imagination started, and then the magical interpretation can happen. Of course it depends on the person and his/shes background, how much life experience they have, what they read or generally are interested in. It all comes together in viewing the artwork, and i'm open to it, i hope that the pieces i create can speak to different people, i don't create works just to seasoned art lovers. I'm more into newbie, as some times I feel as one as well, i want to grow with my audience.

Before leaving this conversation we would like to pose a question about the nature of the relationship of your art with your audience. Do you consider the issue of audience reception as being a crucial component of your decision-making process, in terms of what type of language is used in a particular context?

Well.. as i mentioned before it all depends on what kind of project I’m in, or what has been the inspiration point. If the work is all about me ( I have some of thoughts as well), for example „Self Portrait”, or „Family”, than it’s more like a game with composition, materials and the whole overview of the work. This pieces means a lot to me, but in the same time, the message in pure and clear. Like with the „Family” work, i made it out of casting my relatives hands in glass, to freeze them in time. As the family in general are one of the most important thing in humans life, I do believe, that artwork about this subject can speak in versatile ways, and the empathizing moment is present. So i guess the answer is that, it’s not the most crucial thing in my art. If you make a work, that is sincere and outspoken, about the subjects that are significantly, the audience will be brought to them anyways, the artist just have to code the message in a readable way.

Thanks a lot for your time and for sharing your thoughts, Anna. Finally, would you like to tell us readers something about your future projects? How do you see your work evolving?

I must say i have a lot of future plans, some of them involve creating an open working space for glass art enthusiasts and guests, to share the knowledge and educate about glass and contemporary art as well ;) Other direction is interdisciplinary projects, where i plan to travel around Latvia, make art on the way and to interviews the local people, to see what's really art is for them. I find it and hard question in this dynamically changing times, what art is? So im keen on finding it out in some sort of social projects ☺. Also I will have an exhibition opening in the beginning of June, glass art festival in August, at Luxembourg, group exhibition in Germany and Bulgaria, so there are already a lot of plans made!

Once again thank you for inviting me and good luck!