indrikis.gelzis@gmail.com
biography


Current:
- DARK MODE
ASHES/ASHES
New York, USA
November 1 – December 15, 2019
Jake Dibeler / Joshua Evan / Indriķis Ģelzis / Tony Hope / Timothy Hull / Gregory Kalliche / Bradford Kessler / Brian Kokoska / Ryan McNamara / Luke Libera Moore / Alessandro Moroder / Alix Pearlstein / Joshua Petker / Ian Swanson


Future:
- Solo show
Suprainfinit gallery
Spring, 2020

Past solo shows:
- 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:

- 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






















Sky's The Limit

Hole of the Fox

15. April. - 30. April. 2017
Antwerpen, Belgium

Art Viewer
The Kinsky
KubaParis





Probability Slots
Metal squere tubes, textile, furniture plate
Dimension: 110cm x 150cm x 15cm
2017

d

Blue Sky Thinking
Metal squere tubes, textile, furniture plate
Dimension: 90cm x 145cm x 15cm
2017

d

The Alegory Of The Cave
Metal squere tubes, textile, furniture plate
Dimension: 100cm x 150cm x 15cm
2017

Decisions
Metal squere tubes, textile, furniture plate
Dimension: 110cm x 160cm x 20cm
2017

d

Loathe it, love it, learn to live with it
Metal squere tubes, textile, furniture plate
Dimension: 110cm x 150cm x 15cm
2017

d

d

The sky is the perceptible outer space that can be perceived from the Earth and from
any other celestial body but at the same time it is hemispheric and seems to limit upward vision.

It is etymologically derived from the Latin coelum or caelum, depending on the forms, and these appear to be related respectively to the greek κοῖλος (koilos) with the meaning of cable, sunken, and refers to a ku-root with the sense of being convex (comparable to the Italian saying “volta celeste”); or to the verb caedo, that is to cut, since the astrologers scholastically divided the sky into regions.

The ancient philosophers understood the sky in different ways, for example according to the Greek philosopher Aristotle, celestial bodies are formed by an incorruptible substance that he calls “ether,” a crystalline element with which the universe is made, and from which he claimed the human mind was also formed. And it is ether that plays a central role here: from the ancient greek αἰθήρ, which flowed into Latin as aether, synonymous with quintessential (from medieval Latin quinta essentia in turn a variation of the the greek pémpton Stoicheion, fifth element), was an element which was added to the four that were already known, that is, fire, water, earth and air. Moreover, the greek 
philosopher Plato, in regard to perfect lands inhabited by superior beings, and located above the earth on which his feet rested, argued that the ether had the shape of a dodecahedron, in other words of a Platonic solid composed by twelve faces whose numerological meaning also implied a 
correspondence with the twelve signs of the zodiac.

Therefore, you could metaphorically consider the wall sculptures of Indriķis Ģelzis, mainly made of steel tubes adorned with various kinds of fabrics and different colors, as “platonic solids" made of symmetries, edges and vertexes. These sculptures exist in a state in between the conception of the ancient philosophers who lookedto the sky considering it the highest, clearest and most pure of the starry celestial space and the more recent conception in which space is intended as a place of electromagnetic wave propagation, for broadcasting. They remain perpetually poised between opening and limit, perimeter and spill. The conception of a sky understood as non-addition becomes full of references and manifests itself in the structure of these works that delineate negative spaces, real exhortations to the sky which from time to time are dressed as the land. 

*various sources.