Since graduating from the Latvian Academy of Art with a Bachelor's degree in painting, I have developed both a strong personal attachment to the practice of art and a set of skills that I can use to implement it. That said, I have some reservations when it comes to using them. I am still in search of something, a new medium or a new approach that I might consider reliable enough to make my practice rewarding. I find it difficult to talk to Westerners: they are loud, overconfident, and unaware of what lies beneath their impulses and values, which is a constant reminder of the common distrust we all share. This is a real predicament, and I wish my practice found a way around it, and that it had sufficiently pure and true qualities to prevent conscious acts of rebellion. Largely, this is what I am looking for. Perhaps the revelation has not yet come to me, so I don't look deeper into things that limit my work in this way. Perhaps I have distorted rationale and/or feelings, or my standards are poorly justified. Well, we’ll see.

Although I admit that, I have mostly been trying to keep a safe distance between the contemporary art world and myself, I still believe that it has enormous value to others and is ultimately irreplaceable. Surely not the most radical point of view out there... I see it as a means of filling in the gaps in our communication, which the verbal language simply cannot complete. For me, those gaps seem so large that I cannot imagine that any intimate understanding of each other can arise without the involvement of visual art. So I'm sure I need to have a reasonable basis for my work, conceptually and aesthetically, because the real, main result of a work of art has to be achieved in the mind of the viewer (or so I believe). This makes me rely on my knowledge of the viewer: what does the viewer really need?

What can I provide? I am aware of limitations when creating my work because I am not interested in visual art that is not primarily focused on the viewer, and I don't see any point in it. It raises the question, “What about artists who don't care if their work isn’t exhibited? What if they make art to please themselves?”, which for me ties in with a similar question, “Is talking to oneself a form of communication, or is it a method of comprehending one's own mentality and reasoning (besides just being an exercise that can be done)?” I don't presume to have a generally satisfactory answer to this question, but I at least think that the answer to the first question should correlate with the answer to the second. With an audience in mind, I try to explore all the various impressions people might have and store them in a kind of library that I work with, combining and recreating those impressions. It's easy for me to collect them. As for what I would like to convey with my work, I feel that simply casting doubt on values in which people tend to seek comfort can be more rewarding than making a statement about them.