Painting

Currently in painting, I am interested in professional solutions in a stylized manner, structuring anthropomorphic forms, typifying subcultural groups in society, and depicting relationships between social groups. The overarching goal of my creative work is to provoke an independent process of thinking in the viewer. Sharpening attention with dramatic juxtapositions and paradoxical messages, provoking the viewer into dialogue, and addressing issues through a socially active position. I work on my established style with a social message. I am pleased that international exhibition organizers are also showing interest in this ongoing series of works.

The driving motif of my creative work is to try to find a new expressiveness for painting as a medium. In the technocratic era, to compete with dynamic technological media. With an actual contemporary message and using the counterpoint method of juxtaposing large-format paintings in triptychs, achieving interactivity for the audience. In a crowd, people have lost their individuality. Homogeneous color emphasizes the anonymous mass as a single structure from a bird's-eye view, without internal differentiated sub-forms. Representative art that, in a geometric stylization, identifies subcultures within society: with plastic movements unique to them as character traits, coloration as an emotional shade of group expressions, and movement as a direction to achieve aspirations. Artworks can also appropriate classical art images, as they examine human images on a completely different scale—merely as connective tissue in another larger structure in which the depicted subject exists and operates.

I try to portray the mirror of civilization in large-format series. Juxtaposing different national cultures and religions, obtaining a complete picture of civilization rather than a globalized, cloned, uniform mass. Differently structured crowds. Confrontation of different social groupings reveals the paradox of urbanization: in the urban environment, completely incompatible subcultures co-exist in parallel, dissolved in nature and visible only through the artist's vision. I strive not to lose the value of academic drawing and painting. To alleviate large forms and train virtuosity, I regularly draw romanticized, ethereal, airy ballerinas. Chamber works highlight the central thought invested by the author, the context of the human visual image. Large socially active compositions emphasize social meaning. Creating societal structures not as in nature, but in a subjective, crystallized vision. By juxtaposing typified groups as a single human collective, triptychs reveal problems of antagonism and societal class clashes. To help the viewer guess the encoded message, Vidulejs uses anthropomorphic forms recognizable to everyone in his composition.

The works do not turn out to be decorative for private interiors; they demand large public spaces and museums. They require the viewer's education and participation. Artworks come alive in an expanded field and are not perceived if crammed into narrow spaces. Like a carpet in a small room, they do not serve for warmth. Therefore, when creating such works, there is no hope for buyers looking for private interior decoration. Where a meeting with an artwork can lead to a miracle, each viewer can identify themselves with one of the social groups—praising or condemning themselves, and after catharsis, gaining support and encouragement for other actions. Works that try to use the language of art to talk about socio-political topics must be exhibited in an appropriate communication environment. Seeking unengaged partners who want to evaluate the situation in society and are capable of exhibiting. For example, social funds conducting public opinion polls with independent funding from large corporations and state structures. This also means that Contemporary Art Museums should be funded by donations from the civic environment itself, so that the primary task of Art is to protect natural human rights and the constitution, in contrast to commissioned art that serves to propagate the ideology of a narrow corporate group.

During my creative career, dozens of large-format works have been created. The collection was built on a unified concept: structuring masses of anthropomorphic stylized figures into a rhythmic ornament. Juxtaposing differentiated color and rhythmic solutions so that diptychs of identical sizes are formed. The counterpoint method in layout intensifies the viewer's imaginative involvement, attempting to guide the thinking process of the viewers present at the exhibition. The structured anthropomorphic masses evoke associations with people united in societal subcultures. However, the juxtaposition of homogeneous images in paintings allows an educated viewer to reflect on the structure of society, so that they see in the amorphous, abstract compositions a mirror image of vital thoughts about the components of societal structure.

The exhibition form is characterized by large-format oil paintings. Structured homogeneous masses of anthropomorphic forms. The rhythm of plastics, color, and chiaroscuro modulation forms an almost ornamental final product. The juxtaposition of artworks that are diverse in form but unified in style creates counterpoints in triptychs and diptychs. Dialogues stimulate associative imagery to compare diversity characterizing human subcultures. Upon completing basic sociology courses, a deeper understanding was formed of how an exhibition can serve as an inquiry, studying society with his creative method in the new scientific branch of sociology. Assuming that color, rhythm of lines, intensity of light brightness, and other artistic means of expression characterize the typical features of a human group more powerfully than verbal formulations, which have devalued in many ways. The exhibition and research team includes representatives from universities, the artificial intelligence institute, and the faculty of sociology.

Judging by the viewers' comments, feedback, and criticism, it is amazing what art lovers imagine. The qualities characterizing the groups are crystallized in typified artistic images. Societal subcultures transform into homogeneous structures colored in plastic rhythms. Contemplating them allows the viewer to receive inspiration and recognize a distinct partition of the people.

Another novelty is in the culture of museum exhibitions. Drawing on experience as an exhibition and festival curator, arranging and installing exhibitions of several hundred fellow artists in Latvia and guest exhibitions abroad: by not giving paintings any titles, a journalistic dispassion can be achieved. Here, the author's stance is completely neutral, without emotional judgment. Titles can be written by the viewers, engaging in dialogue with the author and co-creating the artistic image. The viewer, like Adam and Eve, must name the created images. In a specially developed application on www.Dags.lv, one can read and comment on the wittiest titles, evaluate painting prices, and make a purchase like in any regular online shop. Entering www.Dags.lv is simple, just by holding a mobile phone to the painting's QR code.