Gremzde's current practice explores human and nature relationship regarding nature as a focus for the formation of individual and community's identity. Growing separateness from nature and dominating consumer lifestyle results in more time spent in constructed, artificial spaces like shopping malls and waiting halls defined as non-places, which being real measure of our time opposed to places have no identity, relations and history. The scene of nature paid close look at as opposite can open itself to reveal a secret life, a narrativity and history outside the given field of perception.
CV & Education
Qualifications and training:
2011 - MA Fine Art, Wimbledon College of Art, London
2009 - BA Humanities and Fine Art, Art Academy of Latvia, Painting department
2017 '32 Degrees Latitude' by Tish Greenwood - http://cmato.org/gremzde
2016 Art: Museum focuses on 'The City' by Joseph and Barrie Ann George - http://cumberlink.com/entertainment/local-scene/art-museum-focuses-on-the-city/article_07e49b2e-d3bd-5760-956c-e058948939c1.html
2016 'Art in Plain English' by Susan Hodara - http://www.nytimes.com/2016/03/27/nyregion/at-exhibitions-in-peekskill-art-in-plain-english.html
2014 'Restless' at 126 Gallery, part of Galway International Arts Festival, by Aidan Dunne - http://www.irishtimes.com/culture/art-and-design/galway-s-festival-of-pictures-pop-opera-and-soundscapes-1.1868378
2013 'Rubbish' by Alice Bradshaw - http://www.axisweb.org/features/profile/curated-selections/alice-bradshaw
2012 'Vacant Lots at WW Gallery' by Anna McNay - http://art-corpus.blogspot.co.uk/2012/10/review-of-susie-hamilton-inguna-gremzde.html
2011 Axis MAStar by WW Gallery - http://www.axisweb.org/features/profile/mastars/inguna-gremzde/
Gremzde's current practice explores human and nature relationship. Work implies landscape elements, regarding landscape as a portrait of nature, which can be looked at as a focus for the formation of identity. Growing separateness from nature and dominating consumer lifestyle results in more time spent in constructed, artificial spaces like shopping malls and waiting halls defined as non-places, which are real measure of our time and opposed to places have no identity, relations and history.
Most of recent work deals with miniature landscape paintings placed in standardized plastic bottle caps, which are a small world on it's own depicting sky, meadows and woods, surrounded by contemporary frame, possibly for looking at when seized by vague feeling of necessity to escape from urban environment. Even not showing any trace of human presence the scenes juxtapose contemporary consumer lifestyles with man's historically romantic relationship with nature. The usage of mass produced plastic caps implies the ambiguity of trashing landscape and recycling the caps. The work in the same time investigates the common trend of landscape being regarded as unclean and unsafe unless neatly packaged, managed, labeled and turned into commodity. The work addressing the individual's sense of belonging to specific place questions global ecological issues.
Conceptually miniature scale could be regarded as a reference to the shrinking space of untouched nature. The small scale of the paintings engages the viewer in a close examination and the scene of nature paid close look at can open itself to reveal a secret life, a narrativity and history outside the given field of perception.