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| Andris Eglītis. Exhibition “Under the Vault of Heaven” Maija Rudovska, Art Historian | |
| Painter Andris Eglītis' exhibition "Under the Vault of Heaven" has been one of the most successful solo exhibitions by emerging artists held in Latvia in 2008. It marks a significant turning point in the young painter's artistic career and creative expression, as well as illustrates contemporary trends in the overall landscape of modern-day Latvian painting. Most importantly, though, this exhibition affirms the young artist's serious intention of refining an individual style and original pictorial expression. In my opinion, this has been a successful and convincing start, leading to further development and continuance. The bar has been set, and now comes the more difficult part. | |
 Andris Eglītis. The Painting Nr. 26. Oil on canvas. 2008 | |
| Several art experts have already declared that Eglītis' work obviously belongs to the realm of Neo-Realism, which reflects on the surrounding reality. And this does seem to be the case. The key-stone of Eglītis' painting is the special way he transfers reality and, consequently, perception (vision) to a work of art. He has adopted an already familiar and even outdated aspect of "documenting" reality - capturing a moment - but has successfully and surprisingly avoided trivializing it. Quite possibly, Eglītis has even brought it to a new level, reflecting on it in terms of objectivity. I would dare to say that none of the young Latvian artists have managed to capture reality in such an objectivised, i.e. removed, disassociated manner, without excessive nostalgia or exultation. Only reality can be objective, for it is naked, unconcerned, alien and cold - one in which we are existing (instead of living). I am inclined to say that Eglītis' Neo-Realism is closely linked to the sensations and existence of the contemporary person - emptiness and loneliness (read: indifference) - and therefore is captured in a sufficiently objective manner. In his paintings, the only thing close to us, and therefore subjective, is the horizon - an attestation of dreams, illusions and faith - the last hope. One cannot disregard the fact that Andris' large-scale works are "projections" of smaller sketches - brief studies of fleeting moments - that is, a mechanized transfer of impressions onto canvas. That is significant - this particular aspect is what endows Eglītis' works with their distinctive feel of objectivity. There is none of that randomness, fleetingness, vivaciousness usually associated with sketches. Hence, the larger works have acquired their own capacity: there is analysis, completeness of thought and the feel of a finished article. In my view, the exhibition "Under the Vault of Heaven" is worthy of appreciation, as it outlines fresh paths of development in Latvian painting - still quite vague and approximate, but well deserving of a positive mention for their potential. /Translator into English: Līva Ozola/ | |
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