A new sign: "Fabric, curtains, stage drapes are objects what I have used previously in prints, paintings and video. Each time in a different place and context. This time it is the electro-kinetic version. Here there is no supplementary information, it is precisely movement what sets out the meaning of the work. That's how a new sign is created. My artworks are created by my observations of aspects of form, content and the technical aspects, new achievements in technology and science and people's attitudes. I want to draw the observer's attention to completely obvious and simple things, however they contain many interesting paradoxes. The values inherent in abstraction and reality have much in common."

Armīns Ozoliņš

Jânis Brunovskis - composer of exhibition's sound   Download

Mârtiņš Kalniņš - construction engineer

Supported by State Culture Capital Foundation (SCCF)

Armins Ozolins is not a magician, however the notion of virtuality (the un-real) has been a feature of his work for some time. The three dimensions of physical space are simply the arena wherein the audience becomes aquainted with the visionary landscape of the artist's mind's eye. The existence of virtual space in a real or hidden presence can be observed through a progression of the artist's works, be they the curtain paintings of "Idiocy"(Riga, 1996) or the atmospheric spatial construct and holographic effect of "Impressionism"(Riga,1996). In the SCCA - Riga annual exhibition entitled "Geo - Ģeo" the artist replaced a traditional countryside scene with an alternative view of exotic lands, and of course the works created using a holographic technique (for example "Work without the title" at the Tallinn exhibition "Grammar") also accentuate the presence of the alternative subjective dimension to existing reality. Ozolins' artworks, which use a visual effect as a starting point, accentuate the act of perception, a private revelation and contemplation.

A new sign has been especially created for the Vaal gallery in Tallinn, and Noass gallery in Riga. The elements of the installation, colour, movement, physicality, almost architecturally convert the gallery's interior. The rhytm of the movement is a challenge to become involved in the ever-changing hide and seek of the colours and compositional effects. A new sign, always different, reveals the interplay of colour and space and is similar to the idea of an "open work" as described U. Eko, which is a composition that allows the observer to chose the order of interpretation. The basic qualities of the mobile and changeable art work (colour, dimension, materials) and the relationship of its existence (which is perhaps ironic) with the gallery space are uncontrollable. Ozolins stresses thatan interruption in the flow of information is an important element in his works. In this way he highlights and engages in the problem of assessing what is the value of the information contained in the artwork. The nature of the work erases the references of content.

Māra Traumane - exhibition's curator; e-mail: mara(at)rixc.lv