“I wanted to explore the difference between the official, the imagined, the discussed, the rigid and a free, more subjective interpretation”
Ritums Ivanovs is, actually, one of the most popular latvian artist of the new generation.
His work is based on the unique junction of an hyperrealist depiction with optical illusions, typical of Op Art, in order to represent magnified views of particular frames. Large-size canvas, produced with his self-made linear technique, nudes and portraits able to catch a frame of reality: a reality that can belong to him (as in “Girl” or “Dreamers”), and more generally to the show business (as in “Depeche Mode” or “Stars: Light On”).
Ivanovs’ work is concentrated on the idea that a single moment can be more significant than anything else surrounding it, and somehow it belongs to that larger collage we use to call ‘life’: over the imaginary bounds that separates reality and
illusions, beyond the differences between proper memories and daydreamers fantasies.
Moments. Moments elusive and imperceptible, gone as we try to catch them, belonging to nobody and to everyone, visual metaphors of a bittersweet sense of precariousness: actually, ghosts.
As the art critic Ieva Kalnina wrote in an essay for Ivanov’s exhibition ‘The Girl’ (Riga, 2000): “With the help of fragmentation, the artist deliberately leads the viewer away from a specific person to a generalisation. This connection is surprising. It too embodies the attempt to cross over the border.”