Indrikis Gelzis

B. 1988, Riga, Latvia.

We live in an era of social technology, where the manufactured technical equipment is associated with cognitive capital. Technology, which acquires qualities of human labour – efficiency, intelligence, wisdom, communication, etc., is transformed into fixed capital of machinery.

The new achievements, such as additive manufacturing, package delivery by drone or Tesla Autopilot, attest to a more automated and computerized future. The world is being rebuilt to communicate with itself, as well as to communicate without the assistance of human consciousness.

These wall-based sculptures find themselves in a constant flirtatious mode with graphic statistics, which cover the society as a whole, allow one to compare and contrast social observations, and, as a result, make it possible to draw conclusions and make predictions. By designing these models, which also mark the cartographic contours, they serve as local phenomenology, derived from global social structures. Incarnating these linear metal sculptures with fabric fragments, they communicate with their body language or gestures, depicting emotions and function, physical activity or posture. As a result, these abstracted headless figures, reflect upon the mind’s independent structure or reality, which attests to a programmed process, which results in a mechanical or daily situation.

Indrikis Gelzis, April 2018

Tuesday, 2018, 140x90x20 cm, Metal square tubes, fabric, furniture plate
Monday, 2018, 180x100x30 cm, Metal square tubes, fabric, furniture plate
Thursday, 2018, 115x80x25 cm, Metal square tubes, fabric, furniture plate
Probability Slots, 2017, Metal squere tubes, textile, furniture plate, 110x150x15cm
Mission Critical, 2017, Metal squere tubes, textile, buttons, 160x100x25 cm
A New Flame, 2017, Metal squere tubes, red fabric, furniture plate, 140x90x35 cm
Cry wolf, 2018, Metal tubes, textile, gradient print, melamine plate, 140x90x20 cm
Sex On The Table, 2017, Metal tubes, textile, furniture plate, 150x100x35 cm