The Latvian painter has a special love for diffused outdoor light which seems to penetrate the bodies



Download 1.45 Mb.
Page1/16
Date conversion11.05.2018
Size1.45 Mb.
  1   2   3   4   5   6   7   8   9   ...   16
The Latvian painter has a special love for diffused


outdoor light which seems to penetrate the bodies

and emanate from them, a light that reappears

within, and from behind, Rothko's paintings, an

illumination glimpsed through a hazy doorway or

window, a light longed for but beyond reach.

James E.B.Breslin

Mark Rothko, A Biography, p.20

Latviešu mākslienieks izjūt īpašu mīlestību pret difūzo brīvdabas gaismu, kas it

kā iekļūst ķermeņos un izgaro no tiem, gaisma, kas atkal parādās iekšpusē un no

aizmugures, Rokto gleznas, iluminācija, kas uzzib dūmakā aiz kādām durvīm vai

loga, gaisma, pēc kuras nebeidz alkt, bet kas ir nesasniedzama.

Džeimss E.B.Breslins

Marks Rotko, biogrāfija 20.lpp

ULDIS ĀBOLIŅŠ

1 Without a Robe

Bez apmetņa 1987

Watercolour

Akvarelis

62x46cm

2 Ravine Against the Sun


Aizā pret gaismu 1988

Watercolour

Akvarelis

76x54.5cm

3 Sunset in the Harbour

Novakare Ostmalā 1996

Watercolour

Akvarelis

75x54cm

Pirmo izglītību glezniecībā es ieguvu studējot arhitektūru Rīgas Valsts tehnikumā un privāti. Mākslas studijas turpināju Vācijā, Hannoverē pie H. Šauba Kabeges un manas izstādes guva zināmu kritiķu atsaucību. Pēc ierašanās Austrālijā 1950. gadā mani darbi tika izstādīti kopā ar citu mākslinieku darbiem. Biju Contemporary Art Society of Australia un baltiešu mākslinieku grupas Six Directions biedrs. 1970-tajos gados piedalījos grāmatas sastādīšanā. Esmu saņēmis 30 akvareļu godalgas un PBLA Kultūras fonda atzinības rakstu 1997. gadā. Līdztekus glezniecībai esmu plānojis un gatavojis dekortīvos ietērpus tuvu pie 30. Sidnejas Latviešu teātra uzvedumiem. Par mani rakstīja sekojošo, “Viņa akvareļi darināti dzīvā ekspresīvā stilā, balstoties uz impresionisma, ekspresionisma un fovisma raksturīgām idejām, krāsu gammām, kas skatītājam vērojot viņa darbus, iedod zināmu svaigu elpu un pārdzīvojumu.” Pēc mūža biedra Margotas zaudēšanas 2005. gadā uzrakstīju mūsu abu likteņstāstu “Pa ceļam aizejot”.

Born Latvia 1923

Graduated State Institute of Technology (Architecture) Rīga 1942. Studied art at H.Schaub-Kabege studio Hanover, Germany 1946. Was a member of Bund Bildender Kunstler N-W Deutschland. Arrived Australia 1949. Memberships: Contemporary Art Society (Sydney), Six Directions, and Artists Society in Latvia. Collections: Hanover, Germany; Art Gallery of NSW; Museum of Modern Art Melbourne; Newcastle City Gallery; State Museum of Art in Rīga, Latvia. Group shows: Baltic Artists in Paris, New York and Australian Latvian Arts Festivals. Has held twenty eight personal exhibitions nationally, received over 30 watercolour art awards and World Federation of Free Latvians PBLA commendation 1997.

The unique watercolours of Āboliņš made an impression on the local art scene as soon as the artist arrived in Australia. His Sydney exhibition in 1954 at Professor Bissietta’s Pitt Street Studio was described as being a “long awaited spring storm”. The use of pure colour and expressive gestures was exciting for both the artist and the viewer. This excitement carried over to his stage designs for the Sydney Latvian Theatre, which were often controversial and always challenging. Along with a number of Baltic émigré colleagues in the contemporary art society he took on the role of mentoring young painters in his community and was involved in 1978 with the ALMA publication of Latvian Artists in Australia. A prolific artist, he also contributed articles on art in the Latvian press. Āboliņš is mentioned in the following publications: Encyclopaedia of Australian Artists J.McCulloch; Australian Paintings 1788-1970 Professor. B.Smith; Artists and Galleries of Australia and New Zealand M.Germaine; Allgemeines Kunstlerlexikon Band 1, Leipzig, Germany, 1983; Australian Watercolour Painter, 1780 to present day, Jean Campbell 1989; Latvian Encyclopaedia Art and Architecture, Vol. 1 Latvia, 1995.


Extract from U.Āboliņš 50 Years Retrospective Exhibition

Catalog Latvian Centre, Strathfield 1996

ALNIS ANSONS

1 Narcissus

Narcisis 2001

Oil on canvas

Eļļa uz audekla

122x102cm

2 Don Bosco

Dons Bosko 1994

Glazed ceramic relief

Glazūrēts keramikas reljefs

600x400cm

3 Echo

Atbalss 1998



Screenprint

Sietspiede

50x40cm

Nav viegli atbildēt uz jautājumu, ko es mēģinu sasniegt savā mākslā. Austrāliešu mākslinieks Brets Whiteleis teica, ka, ja viņš redz savā tikko pabeigtā darbā to, ko nekad nav iepriekš redzējis, viņš zina, ka ir sasniedzis mērķi. Nevaru izteikties labāk. Tas nenozīmē, ka darbu formās un tēmās nav novērojami iespaidi no agrākās mākslas. Māksla pati ir tradīcija. Katrā mākslas skolā, kurā esmu studējis, sekoja citādi mākslas stili un iepriekšējie stili tika uzskatīti par nevēlamiem. Freiburgā sekojām Vācu expresionismam, Galerijas skola bija dalīta, modernisti un tradicionālie. Vēlākās studijās vienīgi amerikāņu abstraktā māksla bija pieņemama. Filozofijas, uz kurām māksla bija veidota, tika uzskatītas par neapstrīdamām. Tagad tas liekas savādi, zinot, ka šīs teorijas bija rakstītas, kad darbi bija jau radīti.


Savos darbos es jūtos tuvu post modernistu idejām. Atmest izvairīšanos no pagātnes mākslas, bet iesaistīt formas un idejas, sevišķi no klasiskām figuratīvās mākslas tradīcijām savos darbos, pašlaik ir mans ceļš. Seno grieķu mitoloģijas simboliskās figūras un impresionistu vienkāršās sievietes ir daži piemēri, Materiālu un tehnikas izvēli diktē darbi un idejas.

Born Riga, Latvia 1928

Left Latvia 1944, later studied art in Freiburg, Germany. Continued studies at the National Gallery Art School in Melbourne in the 1950s. Early success included purchase of a painting by the National Gallery, Canberra and a commission for a 70 sq.m. relief mural in a public building. Further studies led to work in art education. After partial retirement, was Artist in Residence at Salesian College, producing a 4x6m exterior relief mural. Other works include screen prints for exhibitions in Rīga and Australia, stage sets for Melbourne Opera Company and many paintings in private collections.

One of the hardest questions to answer would be “what am I striving to achieve in my work?” Australian artist Brett Whitely said that, if looking at his just completed work he is taken by a never before seen image, he knows he has achieved his aim. It would be difficult to express it better. The statement does not mean there are not visible influences or even deliberate use of previous art themes and forms. After all, art itself is a tradition. Each art school I was part of had different, preferred styles and vigorously denounced previous forms as “traditionalist”. In Freiburg the dominant style was German Expressionism. The Gallery school had two streams: modernist and traditional, and in later studies only American abstract art was acceptable. However, most of the philosophies that we perceived as the basis of the art movements and arguments were written after the artworks were created.

To my works I would attach Post Modernist ideas and discard the fears of past, especially of the classical influence with its use of human forms. I have no preference for a particular art material or technique. The nature of each work determines what is appropriate.

ANITA APINIS-HERMAN

1 Riga Textiles

Latvju audumi 2001

Paper negative on Ilford

Multigrade paper

negatīvs drukāts uz Ilforda

Multigrade fotopapīra

20x15cm


2 Flowers

Ziedi 2004

Cyanotype on Fabriano paper

Fabriano ūdenskrāsu papīrs

attīstīts cyanotype technikā

11x17cm


3 Heroes cemetary

Brāļu kapi 2001

Liquid emulsion on Arches

watercolour paper

Foto emulsijas šķidrums uz

Arches udenskrāsu papira

19x12cm

Esmu fotogrāfe un tekstila māksliniece. Savas iemaņas un prasmes aušanā esmu mantojusi no mātes Annas Apines (kura beidza Liepājas Lietišķās Mākslas Vidusskolu) un mīlestību uz fotografēšanu no tēva, Ervīna Apiņa. Manu mākslu ļoti iespaido latvju raksti, daba un vecā laika fotogrāfi - fotogrāfijas pamatlicēji. Esmu pētījusi pirmos eksperimentētājus fotogrāfijā un mēģinājusi atdarināt vecās tehnikas un ieviest ko jaunu no sevis. Julia Margaret Cameron ir viena no tām sievietēm fotomākslas vēsturē, kas pazīstama ar vecā stila portretiem. Mani pēdējos gados ir iedvesmojis Sidnejas mākslinieks Čarlijs Kols (Charlie Coles), kurš iespiež fotogrāfiju uz kanvas auduma. Šie ir divi mākslinieki, no kuriem īpaši smeļos iedvesmu. Mana ideja un sapnis ir apvienot latvju rakstus, latviskos tēlus un ainavas tekstilijās un fotogrāfijās. Fotogrammas ir arī viens no maniem izpausmes veidiem un pēdējos gados esmu eksperimentējusi ar solarizāciju un cyanotypes. Dodu priekšroku fotogrāfijas attīstīšanai laboratorijā (darkroom), jo man gandarījumu dod pats radīšanas process. Tāpat aizrauj garīgais motīvs fotogrāfijā. Esmu izmantojusi tēmu “Eņģeļi”. It kā ikdienā neredzamie eņģeļi kļūst redzami caur labu cilvēku darbiem. Dieva sūtītie eņģeļi skatās mums pāri un dara mums neticamus brīnumus, caur kuriem mēs ticam neiespējamo. 91. Psalmā: 11. pantā ir rakstīts “Jo viņš Saviem eņģeļiem par tevi pavēlēs, tevi sargāt uz visiem taviem ceļiem”.

Born Sydney, Australia 1952

Completed Sir Joseph Banks High School in Sydney 1970; Bachelor of Arts Degree and Teaching Qualifications Sydney University and Sydney Teachers College with Fine Arts major 1975. Has extensive textiles and photography background in teaching for the past 20 years, with many of her students winning awards. Anita has been a participant and organiser of many exhibitions and did most of the photography for her weaving book Latvian Weaving Techniques. Her textiles and a website representing her Latvian heritage were a part of an ongoing exhibition at the Immigration Museum in Melbourne.

I am a photographer and a textiles artist. I am influenced by Latvian patterns, nature and photographic pioneers who explored and experimented with photo techniques to produce unusual results. Julia Margaret Cameron is one such person, who became well known for her sepia portraits of her family and friends. Charlie Coles, a contemporary Sydney artist, has been an inspiration with his photographic works on canvas. I envisage using textiles and patterns, mostly Latvian, and superimposing these over photographic images. Photograms are also a part of my repertoire of special effects, which are achieved in a dark room. More recently I have been experimenting with solarisation and cyanotypes. I prefer dark room work because it is very satisfying to do hands on work and to have greater control over the photographic process. There is a spiritual element to my work due to my own religious beliefs and an ongoing theme has been heavenly angels. Angels are invisible but sometimes also visible through the people that come across our paths. They may do something that is particularly astonishing, so much so that one cannot disregard the fact that someone is watching over us through the kindness of others around us.

ANDA BANIKOS

1 Verity 2006

Oil on Canvas

Eļļa uz audekla

75x95cm


2 The Boy Who Drew Cats

Puika, kaķu zīmētājs 2003

Ink, watercolour, pencil

Tuša, akvarelis, grafīts

17x17cm

3 Where You Go, So Do I



Kurbads 2006

Pen & Ink

Tuša

20x20cm

4 Concierge

Durvju sardze 1994

Pen, ink, watercolour, pencil

Tuša, akvarelis, grafīts

26x37cm

Observation of human nature has held an enduring fascination and the ideas woven through traditional Latvian songs and stories have provided me with a framework within which to explore human interaction.


The natural world, its beauty and fragility, has been my other main artistic focus. Dismay at the loss of diversity, both physical and cultural, has prompted me to embark on the translation and illustration of Latvian folk tales, with the aim of sharing the rich Latvian cultural heritage with the rest of the world.

Drawing has always been an important part of my life. Until the mid 1990s, this combined with my love of colour and light to produce vibrant stained glass panels. The translucency of the glass was an integral part of the themes explored during this period, which were centred around water, ice and legend.

The limitations of cold glass design led to experimentation with various works on paper, including linocuts, monoprints and paintings. The comparative representational freedom of these media allowed me to incorporate finer detail into my work. Subjects for studies at this time were predominantly family, friends and acquaintances, often with whimsical circus components.

The skills gained during this period are currently enhancing the parallel development of book illustration, costume design and portraiture.

Cilvēku savstarpējās saites, balss un atbalss ir bieži sastopami manos darbos. Mani fascinē cilvēku izturēšanās un attieksmes, it īpaši kā tās var saskatīt indivīdu dzīves ritumos, atkārtojoties pa gadu simtiem. Tautas teiku un dainu iedvesmota, es ieskatos cilvēces līdzībās un atšķirībās.

Dabas skaistums un trauslums ir otrais virziens, kurā mani darbi tiecās. Sašutums par dabas un kultūras bagātības straujo samazināšanos ir mudinājis mani pārtulkot latviešu tautas teikas angļu valodā, lai paplašinātu to apgrozību. Man vienmēr ir paticis zīmēt.

Līdz 1990-to gadu vidum, zīmēšana, krāšņums un gaismas gradācijas saliedējās manās vitrāžās. To dizains apvienoja kā grafiskus elementus, tā arī vitrāžu caurlaisto gaismas spēli. Stikla caurspīdīgums arī, lielā mērā, noteica šī perioda tematiku, piemēram, ūdeni, ledu un leģendas.

Stiklu ierobežojumi mudināja eksperimentāciju citās mēdījās, piemēram, dažādas drukāšanas metodes un glezniecību. Šo mēdīju pielietošana man deva iespēju darboties ar brīvāku izteiksmi un sīkākiem izstrādājumiem.

Šī laika darbi galvenokārt veidojās ap ģimeni, draugiem un paziņām, bieži ar cirkus pieskaņu. Iegūtā pieredze tagad ietilpst paralēlā grāmatu ilustrēšanas, kostīmu dizaina un portretu attīstībā.

Born Melbourne, Australia 1956 (nee Saulītis)

Art teacher, translator, author, illustrator, BSc, Dip.Ed. Has participated in various visual arts workshops. Group Exhibitions at Meeniyan, Stefani Hilltop, Stockyard, Chapel Galleries and Australian Latvian Arts Festival. Solo shows “Antarctica” 1994, “Kurbads” 2006 (with Yiannis Banikos). Costume designer for FAMDA productions, Susan Green school of Dance, Fire Up Project. Has worked on community arts projects.Works in private collections. Banikos translated, illustrated and published the Latvian classic “Kurbads” in 2006. Lives and works in Gipplsand, Victoria.

WALTER BARDA
Ways of seeing the landscape have their origins in my childhood, spent immersed in rural gardens and bush on the outskirts of Sydney. My interest in gardens and landscape has led to a career in architecture, parallel to ongoing forays within the visual arts – painting, photography, drawing, sculpture. Early work with oils, watercolour, chalk pastels, have evolved toward “primitive” techniques with natural ochres and earth pigments, evoking the earth itself, viewed from some indeterminate distance. It is this immeasurable condition of feeling which motivates my work in an expressive sense. The changing nuances of time and passing information have their counterpart in the veils of transparent pigments and marks which the artist leaves behind. Beyond this they have no obvious meaning other than suggesting an imprint of the artist as an organism.

My recent architectural projects explore the imagery of natural form and materials expressing a sense of place particular to each site.

Born Sydney, Australia 1956

After studying architecture, had an architectural practice in building and landscape design. Design tutor at Sydney University since 1988. Commissioned works include Clover Hill Botanic Garden, Orange (1983); Australian/Hellenic Memorial, Canberra (1984); Federation Pavilion, Centennial Park, Sydney. Grants include Residency in Paris 1983. Winner in various competitions: RAIA Bicentennial Monument Ideas (1984); Interbuild Responsible House for the Nineties (1991); Pittwater Council Civic Design (1994, 1999, 2005, 2007); Boral Roofing (2006). Has exhibited in regional, public and private galleries in Sydney, Melbourne, Brisbane and Tasmania. Works are included in regional, corporate and private collections in Australia.

Mans ainavas redzējums sakņojas bērnībā – pavadītā Sidnejas pievārtē, kur visapkārt bija dārzi un Austrālijas krūmājs. Interese par dārziem un ainavu pievērsa mani arhitekta karjerai, kurai līdztekus pastāvīgi siroju citās vizuālās mākslas jomās – glezniecībā, fotogrāfijā, grafikā, skulptūrā. Agrīnā darbošanās ar eļļu, akvareli, pasteli tagad pāraugusi “primitīvajā” dabiskā okera un augsnes pigmentu tehnikā, kas liek domāt par pašu zemi, uzlūkotu no kādas nenoteiktas distances. Mainīgās laika nianses un informācijas noplūdes atbilst transparentu pigmentu plīvuriem un zīmēm, ko mākslinieks atstāj aiz sevis. Citas acīmredzamas jēgas tiem nav, kā vienīgi norādīt uz mākslinieka zīmogu par sevi kā organismu.

Mani pēdējā laika arhitektūras projekti interpretē dabas formu un materiālu tēlainību, paužot katras vietas neatkārtojamības izjūtu.


1 On a drop of Dew

Uz rasas piliena 2004

Oil on canvas

Eļļa uz audekla

121x90cm

2 Time and Tide

Laiks un paisums

Oil, wax on canvas

Eļļa, vasks uz audekla

183x61cm


1 Another Dimension

Cita dimensija 2007

Metalic-acrylic on

particle board

Akrilks uz plāksnes

52x67 cm


2 Yellow River Kakadu

Kadadū Dzeltēnā upe 2007

Metalic-acrylic on

particle board

Akriliks uz plāksnes

50x65 cm


3 Boab Sentries at Sunset

Boabi saulrietā 2004

Metalic-acrylic on

particle board

Akriliks uz plāksnes

52x67cm

I have to thank my parents Lidija and Sergejs

Beklešovs for the genes as well as the childhood

influences in the Arts. The encouragement to paint

came from my high school art teacher. He found

my ability to mix, blend colours quite unique at that

age. Whereas, I thought everyone did that. My use of

colour interested him and he helped me with composition,

perspective and form, which I still wrestle with

today. My work is more about conveying a feeling

as well as a visual experience. If I have conveyed the

heat of an outback sunset in Boabs (common name

for the Baobab tree) then to a large degree I have

accomplished what I wanted to pass on to the viewer.

In Whitsundays I focused on the contrast - the cool

ocean as opposed to the oppressive humidity of a

Queensland thunderstorm. Metallic acrylic paints are

the main medium I use. This medium enables me to

achieve the interaction between colour, and its metallic

reflection. At times, the reflecting light proves to be

difficult when photographing. In terms of my artistic

development, as an artist, I have only taken a few

tentative toddler steps, with a long way to go.

Man ir jābūt pateicīgai saviem vecākiem -

Lidijai un Sergejam Beklešoviem - par mākslinieka

gēniem. Bērnības gadus es pavadīju mājā, kuŗā bija

daiļamatnieku darbnīca. Interese zīmēt, gleznot

man radās vidusskolā. Mākslas skolotāju pārsteidza

mana prasme darboties ar krāsām, ko viņš uzskatīja

par neparastu dotību tādā vecumā. Es spēju sajaukt

visvisādus krāsu toņus no ļoti vienkāršām pamatkrāsām.

Pie šī skolotāja es mācījos gleznu kompozīciju,

perspektīvu un formu.

Patlaban gleznojot cenšos skatītājā izraisīt jūtas un

radīt vīzuālu pārdzīvojumu. Gleznā Boaba saulrietā,

es mēģināju ar krāsu kontrastiem skatītājam likt izjust

Ziemeļaustrālijas tuksnesīgo karstumu un lielo plašumu.

Gleznā Whitsundays, es toties gribēju koncentrēties

uz jūtu kontrastiem. No vienas puses vēsais okeāns,

no otras - uzmācīgais Kvīnslendas pērkona negaisa

nospiedošais mitrums. Lietoju metāliskās ūdenskrāsas.

Tās dod man iespēju parādīt mijiedarbību starp

krāsu un tās atspīdumu metālā, mainot krāsu toņus

atkarībā no gaismas. Nereti gaismas atspīdums ir grūti

fotografējams.

Cik tālu esmu tikusi kā gleznotāja? Esmu spērusi

tikai dažus nedrošus soļus pa šo gaŗo mākslinieka ceļu.


Born Madona, Latvia 1944

Arrived in Australia 1950. Primary and Secondary education completed in Perth,

West Australia. Married in 1964 in the Northern Territory and was captivated

by the rugged, harsh contrasts of the landscape colours. Moved to Melbourne

1968, where she continues to reside. Has worked in various professions –

nursing, laboratory technician, production management and private business

ventures. After the sale of her last business, devoted more time to painting. Has

participated in group exhibitions in local community Art Shows and received

Commendations for her work.

InĀRA BEKLEŠOVS-TAYLOR

1 Chocolate, detail

Šokolāde, detaļa 2006

Enamel, acrylic, gesso on

canvas


Emalja, akriliks, ģipsis uz

audekla


110x110cm

2 MM study

MM studija 2008

Acrylic on canvas boards

Akriliks, audekļa plāksnēm

dimensions variable

mainamas dimensijas

3 Self as Pig

Pašportrets – cūciņa! 2 004

Acrylic on canvas

Akriliks uz audekla

50x50cm

Austrālijas lauku apkārtne sniedz man neizsmeļamu

materiālu un iespaidu krājumu. Es lielāko daļu

sava laika pavadu laukos pārraugot aitu fermu.

Mana ikdienas darbošanās ietekmē un dod svaigas

ierosmes manam radošajam darbam. Kauli, ragi, nagi,

drātis, māls, spalvas, plastmasas siena tīkli un ausu

indetifikācijas diski, sprunguļi un dažādi jūras izskalojumi

dod nebeidzamu rindu iespaidu manai mākslai.

Dzīve laukos man liek justies tuvāk manai senču

dzimtenei un sniedz man dzīves ritma izpratni. Viļņu

čalas tuvējā Vaitpingas (Waitpinga) jūrmalā, plašās

ainavas un vienatne, tas viss rada ideālus apstākļus

darbam. Tikai mana kaķenīte Pinka piebiedrojas man

darbā. Draugi ciemojas paši uz savu risku…bet ja viņi

ierodas ar šampanieti, tas rada labvēlīgākus apstākļus.

Vispirms es mācījos apstrādāt dārgmetālus, gan

lielākus, gan mazākus priekšmetus, sākot no rotas

lietām, galda piederumiem un sienas pulksteņiem,

līdz metinātiem tērauda interjera darbiem. Pašreiz

es koncentrējos uz divu dimensiju priekšmetiem. Es

lietoju akrilu, eļļu, laku, gesso emaljas smidzinātājus;

uzkrāsoto mazgājot, beržot, skrāpējot un tā radot

dažādus efektus. Lai gan es strādāju laukos, mani

jaunākie darbi vairāk atspoguļo pilsētas grafiti iedvesmotu



retro-pop ikonogrāfiju.

The Australian countryside imparts an abundance

of materials and images. I spend most of my time on

a country homestead overseeing a cattle and stock

farm, and constantly soak up stimuli in daily activities.

Farm life also bestows a palpable link to my



  1   2   3   4   5   6   7   8   9   ...   16


The database is protected by copyright ©hestories.info 2017
send message

    Main page