Kristaps Zarins’ painting always addresses the viewer with a form based on reality – a figure, turn of the head, facial expression and body posture, richness of colours and artistic provocation. A mirror facing the viewer reveals the complex order of our world and its multi-layered content, simultaneously documenting and analysing the processes around us. In his “Greek Series”, Kristaps Zarins refers to Plato’s dialogue “Gorgias”, realizing that people’s understanding of justice in public behaviour has remained the same for the last two and a half thousand years. Divine-human beauty still fascinates and stimulates the painter’s imagination. As the seventh part of the body, the head includes consciousness. These heads speak of different states of consciousness.

Kristaps Zarins’ painting always addresses the viewer with a form based on reality – a figure, turn of the head, facial expression and body posture, richness of colours and artistic provocation. A mirror facing the viewer reveals the complex order of our world and its multi-layered content, simultaneously documenting and analysing the processes around us. In his “Greek Series”, Kristaps Zarins refers to Plato’s dialogue “Gorgias”, realizing that people’s understanding of justice in public behaviour has remained the same for the last two and a half thousand years. Divine-human beauty still fascinates and stimulates the painter’s imagination. As the seventh part of the body, the head includes consciousness. These heads speak of different states of consciousness.

Kristaps Zarins’ painting always addresses the viewer with a form based on reality – a figure, turn of the head, facial expression and body posture, richness of colours and artistic provocation. A mirror facing the viewer reveals the complex order of our world and its multi-layered content, simultaneously documenting and analysing the processes around us. In his “Greek Series”, Kristaps Zarins refers to Plato’s dialogue “Gorgias”, realizing that people’s understanding of justice in public behaviour has remained the same for the last two and a half thousand years. Divine-human beauty still fascinates and stimulates the painter’s imagination. As the seventh part of the body, the head includes consciousness. These heads speak of different states of consciousness.

Kristaps Zarins’ painting always addresses the viewer with a form based on reality – a figure, turn of the head, facial expression and body posture, richness of colours and artistic provocation. A mirror facing the viewer reveals the complex order of our world and its multi-layered content, simultaneously documenting and analysing the processes around us. In his “Greek Series”, Kristaps Zarins refers to Plato’s dialogue “Gorgias”, realizing that people’s understanding of justice in public behaviour has remained the same for the last two and a half thousand years. Divine-human beauty still fascinates and stimulates the painter’s imagination. As the seventh part of the body, the head includes consciousness. These heads speak of different states of consciousness.

Kristaps Zarins’ painting always addresses the viewer with a form based on reality – a figure, turn of the head, facial expression and body posture, richness of colours and artistic provocation. A mirror facing the viewer reveals the complex order of our world and its multi-layered content, simultaneously documenting and analysing the processes around us. In his “Greek Series”, Kristaps Zarins refers to Plato’s dialogue “Gorgias”, realizing that people’s understanding of justice in public behaviour has remained the same for the last two and a half thousand years. Divine-human beauty still fascinates and stimulates the painter’s imagination. As the seventh part of the body, the head includes consciousness. These heads speak of different states of consciousness.

Kristaps Zarins’ painting always addresses the viewer with a form based on reality – a figure, turn of the head, facial expression and body posture, richness of colours and artistic provocation. A mirror facing the viewer reveals the complex order of our world and its multi-layered content, simultaneously documenting and analysing the processes around us. In his “Greek Series”, Kristaps Zarins refers to Plato’s dialogue “Gorgias”, realizing that people’s understanding of justice in public behaviour has remained the same for the last two and a half thousand years. Divine-human beauty still fascinates and stimulates the painter’s imagination. As the seventh part of the body, the head includes consciousness. These heads speak of different states of consciousness.

Kristaps Zarins’ painting always addresses the viewer with a form based on reality – a figure, turn of the head, facial expression and body posture, richness of colours and artistic provocation. A mirror facing the viewer reveals the complex order of our world and its multi-layered content, simultaneously documenting and analysing the processes around us. In his “Greek Series”, Kristaps Zarins refers to Plato’s dialogue “Gorgias”, realizing that people’s understanding of justice in public behaviour has remained the same for the last two and a half thousand years. Divine-human beauty still fascinates and stimulates the painter’s imagination. As the seventh part of the body, the head includes consciousness. These heads speak of different states of consciousness.

Klāvs Loris’ artistic style can be observed in his large-scale works, where the painter continuously experiments with techniques, combining classical oil painting with more modern mediums and materials. During these experimentations, Klavs Loris has developed his own author-technique, which combines photography, digital print and classical painting. In his latest paintings, he seeks ways to encounter, resist and re-create reality through abstraction. The series of paintings challenge the understanding of how the relationship between reality and humans is formed. Working on large-format paintings, the artist employs dry textile pigments as the primary technique and material. These pigments originated from textile and knitwear factories in the 1970s. With the canvas laid flat on the ground, artist Klāvs Loris pours several liters of industrial varnishes intended for wood floors and furniture finishing. In the initial stages, the artist allows the pigments and natural flow of the varnish to shape abstract forms and textures. In the second phase, deliberate strokes are added, utilizing various tools such as broad brushes, trowels and even brooms. Natural randomness dictates the further development of the painting, where oil colours, acrylics, and even wall paints are applied over the pigmented background. Sometimes, the artist improvises on the spot to determine the painting's subject and theme, while other times, sketches and the selection of visual references precede the creative process. In the painting process, Loris also incorporates a multitude of paper masking tapes. These tapes are affixed onto the canvas previously treated with pigment, and by using a utility knife, various shapes are cut out, which are later employed as stencils filled in with oil paint. The technique of using dry textile pigments was discovered entirely by accident. Klāvs Loris stumbled upon pigments hidden away in a corner of the studio for years, heritage from the artist's family. One day, while working in the studio, varnishing artwork inadvertently spilt a tiny amount of pigment on top of the painting, from which a beautiful colour structure arose.

“There is something intriguing about making ladders that are not climbable. You might be tempted, but you can clearly see that it won't be possible. Seeing the ladder as a symbol of progress, I explore various questions about everyday necessities that seemingly lead us to progress”˗ Zane Zeivate.