VIEW IN MY ROOM
Latvia
Sculpture, Paper Mache on Other
Size: 20.5 W x 35.8 H x 19.3 D in
Ships in a Crate
The raw material for my objects is homemade paper, which I create from all sorts of vintage paper. I use this matter for almost everything – painting, sculpture, theatre projects, design objects. Sculptures and installations are made in mixed technique, using methods of papier-mâché, embroidery, crochet, painting, puppetry. I regard the vast amount of human made articles as a marble mine of 21th century where one can freely experiment. Every article and textile fiber can transform in a work of art. I combine found substances and items with professional arts and crafts materials to create fragile visions and textures of opulence. My latest objects are flying sculptures which confront gravity using a philosophy of movements borrowed from marionette theatre. Deer Mother is an embodiment of ancient and wild female goddess. She has a robust body with multiple breasts and a fragile deer head with antlers, made from bead-embroidered papier-mâché. She can float in strings or be placed on the ground.
Original Created:2019
Subjects:Animal
Materials:OtherPaperSoft (yarn, Cotton, Fabric)
Mediums:Paper MacheFabricTextile
Sculpture:Paper Mache on Other
Original:One-of-a-kind Artwork
Size:20.5 W x 35.8 H x 19.3 D in
Frame:Not applicable
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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