DAGS VIDULEJS CREATIVITY STATEMENT

At the moment, in painting, I am interested in professional solutions in a conditional style, structuring anthropomorphic forms, typifying groups of subcultures of society and depicting the relations of social groups. The main task of my work is to cause the viewer to think independently. Exacerbating the focus with dramatic guidance. With a paradoxical message, provoking the viewer to dialogue, with a socially active position to solve problems. I work on my style with a social message. I am glad that the organizers of international exhibitions are also interested in the series of works started.

The guiding principle of creativity is to try and find a new expression for painting as a medium. In the age of technocracy to compete with moving technology media. Orient large-format paintings in triptychs with an up-to-date contemporary message and a counterpoint method, achieving interactivity for viewers. People in the crowd have lost their individuality. The homogeneous color emphasizes the anonymous mass as a single structure from a bird’s eye view, without internal differentiated subforms. Representative art, geometrically stylized, identifies subcultures within society. With their characteristic plasticity as a feature of character, the manifestations of color as a group of emotional shades, to achieve the tendencies of movement as a direction. Works of art can also appropriate images of classical art. Because you look at human images on a completely different scale. Only as connective tissue in another larger structure that exists and functions as the subject depicted in the painting.

I am trying to portray the mirror of Civilization in a large format series. To point out different national cultures and religions. Gaining the big picture for civilization, not as a globalized cloned homogeneous mass. Different structured crowds. The confrontation of different social groups shows the paradox of urbanization, that in the urban environment there are various completely incompatible subcultures that dissolve in nature and can only be seen in the artist’s vision. Do not lose the value of academic drawing and painting. To facilitate large forms, train virtuosity is regularly drawn by romanticized ballerinas, ethereal, airy. The chamber works emphasize the context of the author’s chosen thought, the human visual image, in the author’s work. Highlighting social meaning in large socially active compositions. To form the structures of society, not as in nature, but in a subjective, crystallized vision. By referring to typified groups as a single group of people, the triptych presents problems of antagonism and clashes between social classes. In order for the viewer to guess the encoded message, Vidulejs uses anthropomorphic forms that are recognizable to everyone in the composition.

The works do not turn out to be interesting for interior decoration. They have a demand for large public spaces, museums. Needs viewer education participation. The works of art come to life in an expanded field, they are not perceptible when inserted into a scraper. Like a carpet, in a narrow room does not provide heat. Therefore, when creating such works, there is nothing to hope for a buyer decorating a private interior. Where a miracle can happen when you encounter a work of art. Each viewer can identify themselves with one of the social groups. In this way, self-praise, condemnation, post-catharsis support for other actions. Works that attempt to use the language of art to talk about socio-political topics should be exhibited in an appropriate communication environment. When looking for non-engaged partners who are willing to evaluate the situation in society and are able to exhibit. Such as public opinion polling social funds with independent funding from large corporations and government agencies. It also means that Museums of Contemporary Art should be funded by donations from the civil society itself. May the overriding task of Art be to protect human rights and the constitution. In contrast to customer-funded art, which serves the art of propagating the ideology of a narrow corporate group.

Many dozens of large-scale works have been created during his creative work. The collection has become a unified concept. To structure an anthropomorphic stylized figure in a rhythmic ornament of mass. It contrasts differentiated color and rhythm solutions. In order to form diptyches of the same size. The counterpoint method in the layout further enhances the viewer’s imagination. It is an attempt to guide the viewers in the exhibition in the process of thinking. Structured anthropomorphic masses create associations of people united in the subcultures of society. However, the contrast of the homogeneous images in the paintings creates an opportunity for the educated viewer to reflect on the structure of society. Let the viewers see themselves in amorphous abstract compositions a mirror image of their vitally important ideas about the components of the structure of society.

The form of the exhibitions is characterized by large-format oil paintings. Structured homogeneous masses of anthropomorphic forms. The rhythm of plastic, color and light modulation forms an almost ornamental end product. The orientation of works of art in different forms, but in a unified style, forms counterpoints between triptychs and diptychs. Dialogues encourage associative imagery to compare the diversity that characterizes human subcultures. After completing the basic course in social studies, the author also developed a deeper understanding of how the exhibition can also serve as a study of the society through its creative method in the new field of science in social science. Assuming that the color, the rhythm of the lines, the intensity of the brightness of the light, and the other means of artistic expression characterize the typical features of a group of people more than the devalued verbal expressions can. The group of the University, the Institute of Artificial Intellect and the teaching staff of the Faculty of Social Sciences participate in the exhibition and research working group,

Judging by the comments, feedback and criticism of the viewers, it is amazing that art lovers alone do not imagine. Group characteristics are crystallized in typified art images. Societies of society turn into homogeneous colored structures of plastic rhythms. Viewing them allows you to get inspiration from the viewer and recognize a special folk partition.

Another novelty in the culture of exhibitions in museums. With the experience gained, working as a curator of exhibitions and festivals, organizing and arranging expositions of several hundred fellow artists in Latvia and in guest exhibitions abroad. Without giving the paintings even names, journalistic indifference can be achieved. Where the author’s position is completely neutral, without any evaluation of the emotional tone. Viewers can write down the names of the paintings. By engaging even more in dialogue with the author, co-creating an image of art. The viewer must name Adam and Eve by name. In a specially developed application www.Dags.lv. can read and comment on the most clever names. As well as evaluate the prices of paintings and make a purchase, as in any usual online store. www.Dags.lv is easy to enter, just put the mobile phone next to the QR code of the painting.

 STRUCTURALISM. SCIENTIFIC WORK. © DAGS VIDULEJS:

I have been working on the introduction of the structuralism method in painting for several decades. After my second studies at the Academy of Arts. In-depth study of sociology as well. This is a new method in Latvian art that can enrich the range of artists’ means of expression. Which can also actively enrich the perception of society and the individual. Dozens of exhibitions have been organized in this direction and about a hundred works have been created.

Structuralism as a interdisciplinary discipline includes research in sociology and its representation in the language of painting, complementing:

1. Structuralism in painting is based on the assumption that observed objects do not exist in isolation in the sense of subjectivity, but in relation to other objects – in structures, despite the variability and ambiguity of structures.

2. The exposition is based on the form of diptych, which makes it possible to orient the paintings in the counterpoint method, to achieve interactivity with the viewer and generalizations in the process of comparison, similar to the processes of thought. Like drama, it is based on a struggle of opposites. In a structural system of thinking, thinking about the world and everything in it and going through it in binary opposites, such as black and white, high and low, person and animal.

3. Through these opposites, cultivated as “good” and “bad”, each culture and its traditions, politics, religious rituals, games, education are built. By reproducing and reproducing according to a predetermined structure, whole systems of opposing signs, a cultural strategy and ideology emerges. A culture that acts as a semiotic sign system that structures the process of communication and gives it predictability. A culture that provides a unified presentation and interpretation of the messages exchanged during the communication process.

4. Democracy – Totalitarianism, Christianity – Satanism, Communism – Fascism, Corruption – Knab, Pandemic – Vaccine, USA – Russia, European Union – Soviet Union. However, the more one tries to prove antagonism, the more the concepts merge into one whole unity of opposites, especially with the time difference, like expansive fascism and expansive communism, intertwined in one two-headed “World War II” turmoil. In the context of current social change, such a critical discourse is an analysis of the balance of power in society.

5. The social objects studied in structuralism are relative rather than substantive. The social world is explained not by individual action, but by relationships and relationships between relationships. Whole is formed as a differential articulation of subjects. Differential-stable differences between individuals and between groups of people. Articulation of interests is a function of the political system in order for political parties to identify the demands of public entities on the current political system.

6. In art, structuralism is an opportunity for a parallel development path to abstraction that occupied a large part of the art of the 20th century. Structuralism and Abstractionism have common mottos: “Attack on Realism”, “Denial of Photo Perception of Objects”.

7. The metatheoretical setting of structuralism provides a unifying and interdisciplinary approach. Structuralism opposed the positivism of scientific methodology, which defines empirical research as the only source of true, useful knowledge. Structuralism justifies the cognitive value of philosophical research. Structuralism denies the main thesis of positivism that “all true knowledge is the cumulative result of the special sciences.”

8. Structuralism denies naturalism in painting and the methods of natural sciences as an explanator of the processes of social phenomena. Because Naturalism claims that the world does not depend on consciousness and is known directly through machines and artificial intelligence. Naturalism also explains the history and future activities of society as a direction of sociology with various climatic, geographical and biological factors of nature.

9. Structuralism also denies Humanism as a method of cognition by which people shape and know their world, in which the education system teaches an imaginary model of the world, and recognizes itself as a member of an imaginary abstract, unified society. Although, in reality, society has to be seen as a place of struggle for survival by the vital antagonistic interests of the opposite group, which are hidden behind a common national, geographical identity. Without identifying one’s belonging, not understanding oneself and not being able to analyze and defend one’s real situation. In the society of the class, the strata, whose members do not come into complete contact, did not overlap in the way of life, opportunities or rights.

10. Structuralism also denies Structural Anthropology, which projects the elementary structures of the family’s kinship into the structure of society by separating homogeneous structures. What has been preserved to this day by Eastern clan societies. As well as the ancient families of Western societies, which have all their finances, and which have been following their blood for thousands of years. Unlike cultured Western civil society, whose blood affiliation to a family is almost completely eradicated, without even acknowledging the Mother, the Father, the family as a child’s creative entity without writing in the passport; not meeting grandparents and not knowing cousins, losing family property and no longer respecting family traditions and stubborn selfless self-help.

11. The method of sociology, by distinguishing the huge difference of homogeneous subcultures, more precisely and surprisingly, helps a person to identify and place himself in a local society, socializing in the context of all humanity. And to recognize, ratify the dominance of each person in the infinite range of small and large subcultures. Seeing subcultures as living collective organisms and even being able to analyze their interactions.

12. Structuralism in painting is a passionate method of studying art, culture and society, but not Foucault’s biased philosophy. An approach to art, closer to professional journalism that portrays facts, without an assessment of personal attitude. In addition, structuralism differs from the general analysis of scientific structures, from architectural structuring and structural differentiation in psychology, and from its structural role in the general scientific systemic approach.