The solo exhibition of ceramic artist Katerina Geiduka uses the motif of folk tales to interpret a woman's experience, memory and the process of transformation in porcelain. The artist has been working on the works for this exhibition for more than a year in order to conjure up a magical world, a kind of porcelain fairy tale, for two months at the Riga Porcelain Museum. In it, incomprehensible porcelain plants will grow and funny creatures will hide; we will see fabulous and not so fabulous movers, signs and attributes whose meanings oscillate between unmistakable contemporary reality and intuitive timeless premonitions.
Katerina Geiduka has found the impulse for her solo show in the motifs of folk tales, with a special focus on the Italian fairy tale "The Girl Without Hands". Like every fairy tale, this one has a dark side. It is a story of trauma, exile and transformation, or a metaphor for the artist's own experience of tragic events in her personal life. Through the exhibition, she returns to female archetypes as an ancient code to understand her own experience and history through them. The archetypal subject becomes the basis for the installation. In it, the viewer enters a magical space: a forest with metal trees and porcelain fruits filled with the seeds of new life.
At the same time, the museum's windows are showing Diana Boitmane's solo exhibition MALLEUS. Inner Form". The exhibition features porcelain forms that abstractly reflect the experience of sound and silence. The artist was inspired by the sound architecture of Hungarian composer Gerg Ligeti, but the works are not a direct interpretation, but traces of listening.
Until 30 November, the Riga Porcelain Museum's creative workshop is hosting an expressive exhibition "Both Sides of the Border" by ceramic artist Dace Blūma, which offers an opportunity to see the artist's latest works. It is the border between light and shadow, between solid shade in the squares and a flood of colour, between decolour and brush, between vessel and wall decor. Porcelain overglaze painting can be infinitely varied, not only in artistic terms but also in the use of technical techniques.