LATVIAN JEWELLERS DURING USSR OCCUPATION, PART III
The set of jewelery “Miss Latvia – 1940” created by Gundars Pekelis in 1991 is symbolically associated with the image of Latvian state. It is not a beautiful diadem with diamonds received by the beauty queen of Latvia in 1940, but a thorn crown of barbed wire as a sign of Soviet occupation. Read the full article here – The Latvian jeweller generation during USSR occupation, part III.
Gundars Pekelis (1949-1994) head ornament “Miss Latvia – 1940” made in 1991 photo: Andrejs Strokins; The Museum of Decorative Arts and Design, from the exhibition EXPOSING THE HIDDEN
LATVIAN JEWELLERS DURING USSR OCCUPATION, PART II
“In a way jewelley is my hobby. I do it in my workshop during the spare time after work” explains P. Spridzans. Read the full article here – The Latvian jeweller generation during USSR occupation, part II.
Pauls Spridzans (b.1945); hairpin collection “Meteor Shower” (Zvaigžņu lietus); metal and wood; 1989; Artist Union of Latvia collection; photo: Ginta Grube
LATVIAN JEWELLERS DURING USSR OCCUPATION
Latvia has been celebrating its 100 year independence. “There have been roughly speaking 20 years of which we can refer to as free from censorship, the scourge of war and recovery period” explains Snadra Kalniete (Latvian politician). I want to introduce you to some jewellery artists that were born around mid30’s to 40’s in the 20th century. Read the full article here – The Latvian jeweller generation during USSR occupation.
Livija Andrjukaitite (1936-2000), exhibition poster by Kirils Šmeļkovs, 1980 photo: unknown source
This is an article about the artist collective Hatara Project and their ongoing exhibition series Time Perception. Thanks to Annea Lounatvuori I have joined this project and I have to say she is one amaizing artist. We went to have a drink and talked a lot about the way we see the jewellery art field in general and how we see our work in future. We both agreed on many ideas such as – education is most important and innovative thinking is crucial for education. We also talked about commercial projects and how many artists share the opinion that if you work with a commercial brand you kind of sell your self to the consumers. Read the full article here – HATARA PROJECT.
Photo from the process of the common piece by Ginta Grube and Jelizaveta Suska. Second step. 2019
On July 27, 2018 I introduced my guests (family and friends) to a giant “G” on the back of my garden house. After positioning 540 donut rings on the same number of clout nails around 50 donuts were replaced with custom made rings. Read the full article here – The Ring Exchange Point.
The Ring Exchange Point. Photo: Ginta Grube