Exhibition “Invertebrates” was based on the experience of a significant group of society. A large part of Latvian children grow up in separated families. Most single parents are women. Many of these women and children are at risk of poverty. Most of them do not have the opportunity, time or desire to speak about this difficult experience. It is considered disgraceful. Some families find it necessary to distance themselves from the embarassing, shapeless formation – a single woman with a child - and pretend that they are dead or non-existent. Women isolate themselves because they do not want to get infected with monoparenting virus. Men dissociate themselves automatically, as if these women had ceased to exist, dissolved into ectoplasm. Women with children disappear from family conversations and support networks.

 

These are works of heartache, love and revenge. The history of the origin of the works and the emotional code that justifies and explains their existence is personal and intimate. It was distributed to the audience in scented old pink envelopes, which they were able to open at home and read, crying, shocked and lonely as stumps. In the symbiosis of sculptures and paintings, references to sacred art can be seen in a distorted, doubt-tormented, post-faith way. Paintings that flow out and transform into sculptures, articulated sculptures that can come to life as puppets, they conquered the magical third floor room at Alksnāja Street 16, Riga, using zero waste materials - paper, textiles, found objects, gifts, household tools that the artist does not know how to use. Following the best romantic traditions, Invertebrates can be called an exhibition - vendetta, stories in the Baroque and Gothic spirit. Hoping that all the undercared children will grow up freely and happily, despite shabby clothes and the lack of attachment networks in childhood.