indrikis.gelzis@gmail.com
biography

Upcoming:
- Liste
Solo presentation
Suprainfinit gallery
Basel, Switzerland
September 21 - 27, 2021


- Solo show
Tatjana Pieters gallery
Ghent, Belgium
April, 2022

- Solo Show
Kim? Contemporary art centre
Riga, Latvia
2023


Past solo shows:
- Daily charts
Suprainfinit gallery
Bucharest, Romania
March 24, - May 1, 2021


- Still life of a still life
Tatjana Pieters gallery
Ghent, Belgium
October 28, 2020 - January 17, 2021


-
Figure of Everything
Castor
London, UK
September, 17 - October 31, 2020


- Self-isolation during COVID-19
Brooklyn, New York
April 27- May 1, 2020


- Pause for the cause
Cinnnamon gallery
Rotterdam, The Netherlands
March 23 - May 4, 2019


- TABLEAU at ASHES/ASHES
New York, USA

- Nightball effect at King's Leap
Brooklyn, New York


- Skeleton of the wind at Suprainfinit together with Viktor Timofeev in Bucharest, Romania

- The Man in the Moon together with Adja Yunkers at Belenius gallery in Stockholm, Sweden

- Aeolian breath in Riga, Latvia

- Between the sheets at Cinnnnamon gallery in Rotterdam, The Netherlands


- Sky's The Limit at Hole of the Fox in Antwerpen, Belgium


- Tastes like headaches together with Adam Cruces and Louisa Gagliardi at kim? Contemporary art centre. Riga, Latvia

Past group shows:

- Black Market
Kim? Contemporary Art Centre
Riga, Latvia
December 1, 2020 - January 31, 2021
+
NADA Miami
Dec. 1 - Dec. 5., 2020


- The 4 Gate Connection
Tatjana Pieters Gallery
26.01 - 01.03.20.2020
Ghent, Belgum


- Close Up at Cesis Contemporary Art Centre

- A closed mouth gathers no feet
Dash gallery
Kortrijk, Belgium 
March 2 - April 7, 2019 


- Doors of Paradise at Union Pacific London


- The Last Rave together with Benny Van den Meulengracht-Vrancx and Tom Volkaert at Diesel Project space in Seraing, Belgium


- Heavy metal at Jerome Pauchant gallery in Paris, France

- Superposition at Joshua Liner gallery in New York

- Monsone at Suprainfinit gallery in Bucharest, Romania

- Wholesome environment at Lundgren gallery in Palma, Spain

- Form Cannibalism at The Stable in Waregem, Belgium



... something from 2012 - 2015























Nightball effect

King's Leap NY

14. Sep. - 21. Oct. 2018
New York, New York

Art Viewer
Tzvetnik










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Opposed spoons
78cm x 53cm x 10cm
Polyethene, steel
2018

Accidental spoon
78cm x 53cm x 10cm
Polyethene, steel
2018

Two spoons
78cm x 53cm x 10cm
Polyethene, steel
2018

Spoon between two shapes
78cm x 53cm x 10cm
Polyethene, steel, melamine
2018



Lengths of steel form shadow boxes, then populate them with ribs and joists, some minimally upholstered in polyethylene sleeves, with cast-offs for fiberboard carpentry wedged among the bars. These structures begin as free-hand drawings in CINEMA 4D, an application typically used for motion graphics and modeling. They are then transcribed to notebook paper in graphite—mechanical drawings to aid in their construction. The clean lines and unlikely junctures suggest the computer with which they were conceived, but belie the hands that gave them form. There is still touch here: on the steel, welded, treated with oils, burned to a jet-black patina; on the polyethylene tubes, painstakingly stitched, tousled just so; on the furniture plates, with false wood-grain melamine applied to every surface.

The works in this show, Latvian artist Indriķis Ģelzis’ first solo exhibition in the United States, are small, dense, and shallow, hung from the wall. The palette for each is limited to stark silvers, blacks, and whites. Their uniform size and coloration create the sense of décor, that which shores up setting and scenery on the sly, not necessarily announcing itself.

Within each frame, one is tempted to find headless figures, all limbs and spines, cuddling or copulating, at work and play, in prayer, airborne, fixing a leak in the sink. They elbow for room in the composition, on the bed, at the table, in the doorway. Their backs curl, constrained by the warped picture planes of their enclosures. These frames are gentle traps, the bait and barbs working on their object with alternating care and force. There is the sense of being held for examination (as the mouse is given maze) or for correction (as the mouth in the midst of orthodontic apparatus).

There is a moment after the trap has sprung and before we realize we are caught. In this stillness, an image accumulates. Ģelzis’ figures are eerily archaeological, suggesting the bodies of lovers found in bed under many layers of ash and earth. As a condition of their capture, they are frozen in time.

— Maxwell Paparella