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IVEtA VECEnÅnE
tEkStilS
Foto
: N. B
rasl
iñß
Ziedéßanas paralélisms
Gobeléna brîvîba dzimst no metu un velku struktüras, ko piepilda måkslinieka sapñu un vélmju zieds. Linu velki tiek uzvilkti un piesieti visi vienådå platumå. Ivetai Vecenånei pieder meistara Krieviña darinåtås stelles, außanas dakßa un sistava, ar ko vilnas audus piesit, un Zemgales audéja Bétiña platumturis, ko Iveta sañéma kå velti, kad, büdama studente, piedalîjås Zinåtñu akadémijas rîkotajå etnogråfiskajå ekspedîcijå. Toreiz cilvéki priekßmetus dåvinåja, apzinoties, ka jautåjums uzdots péc bütîbas: ir atnåcis îstais mantinieks.
Gobeléna izejas pozîcijå atrodas kråsotu dziju kamoli. No trim kamoliem jeb toñiem rodas kråsas mistrojums, no trînîßa mistrojuma – saauduma telpiskums, dzi¬ums. Divdesmit piecås ficés ir septiñdesmit pieci toñi. Audéjam vajag saprast, kas ar ko mîsies, kådu rezultåtu dos. Uz stellém var redzét noaustu lîdz 20 cm garu fragmentu. Taçu apré˚ins bez gleznieciskås intuîcijas te ir bezspécîgs. Tießi kråsas izjüta ir tå, kas kådå brîdî Ivetai ¬auj sasniegt apbrînojamu virtuozitåtes lîmeni, kad außana såk apsteigt iepriekßéjo nodomu un at¬aujas ignorét zîméjumu. Pavedieni paßi såk rosinåt formu, un tad parådås negaidîtas izredzes. Ivetas darbus kåds cits meistars noaust nespétu, jo radoßums ir vajadzîgs katrå posmå. Jo lielåka ticîba sev un procesam, jo labåk sanåk.
Bet platums ir jånotur tik un tå. Pavedieni jåaizauΩ. Ivetas måte, ßuvéja péc profesijas, iemåcîja sakårtot darba virsmu, lai viss ir pa rokai, un darbu darît lîdz galam. Skaisti darît, lai gåjums sekmétu izdoßanos. Pareizi uztvert 700 – 800 velku, katru diegu nostådît, lai tas nepiñ˚erétos, nemestos. Izkårtot lietas secîbå, paredzot, kad dzija jåmazgå, jåkråso, jåΩåvé, jåtin. Außana ir fiziski grüts, laikietilpîgs darbs. No sava téva boksera Iveta ir uztvérusi cîñas garu un pretestîbas pårvaréßanas prasmi, ko dod rüdîjums.
The Parallelism of Flowering
The utter abandon of the tapestry springs from the structure of the woof and the warp, abundantly blooming with the artist’s dreams and desires. Linen warps strung up and tied, uniformly spaced. Iveta Vecenåne works with the master Krievinß’s handmade loom, weaving fork, and mallet, in addition to the weaver Bétiñß’s spacer, which she was presented with when, as a student, she participated in an ethnographic expedition organized by the Latvian Academy of Sciences. At the time, craftspeople would pass on their tools to those for whom the tools seemed most truly intended.
At the tapestry’s end point dangle dyed balls of yarn. From the strands of yarn emerge myriad colors, from the dialogue of colors – the work’s sense of space and depth. The weaver must understand how the yarns will interact, which colors and qualities will result. At any given time, the loom can hold fragments of up to only 20 centimeters. Thus painterly intuition of the work as a whole is utterly essential. It is precisely her feeling for color that leads Iveta to virtuosity, when the process of weaving propels the work in an unexpected direction divergent from the one mapped out in her preliminary drawings. The threads themselves begin to suggest new forms and reveal unanticipated possibilities. No other master could copy Iveta’s art, because her inspiration is a requisite at every step. The greater Iveta’s faith in herself and her creative process, the better the result.
The uniform spacing of the threads must be maintained at all times. The threads must be spun. Iveta’s mother, a dressmaker by profession, taught her daughter how to order the surface of a work, all by hand, and how to guide a work to its completion. Since the nature of the process is apparent in the result, Iveta’s mother taught beauty and grace in the process of weaving. She taught the right way of perceiving 700–800 warp threads, and how to arrange each thread so it will neither tangle nor unwind. She taught also the proper sequence of tasks – when the thread must be washed, when dried, when wound. Weaving is a physically demanding, time–consuming process. From her father, a boxer, Iveta has inherited a fighting spirit, and her experience has hardened her, bringing out an ability to overcome adversity.
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Since her childhood, Iveta has felt a closeness to nature – nature that is fierce in its enormity, branches into forms, blossoms into fullness. Her work intensifies in those mystical moments when she draws her subjects from nature, weaving them into her tapestries or painting them upon silks. Sky, lake, hill, tree, stone, wind, flower, bird, ground… Iveta’s themes arise from her alchemic combinations of countless specific words and emotions, together with a subtext of layered possible meanings. A blossom shrouds blue chicory of Naujiena, a hive buzzes with bees, the strength of a roadside leaf, delicate white clover, fields of wild strawberries, a lake’s reeds in a pouch of petals on the verge of reddening; the romantic costmary, mullein from a Råzna field, damewort and cuckoo’s-foot, dew-satchel (essential for Midsummer Eve’s garland), jasmine bushes and lindenflower clouds, Lake Cirma’s violet isles; rambling, dizzying goosegrass of the Gauja river valley, self-assured St. John’s wort, a parade of weeping grasses: standing as one; jaundiced cat’s-feet, rusted tomcat’s-bag, azure spread of anemones, mayflowers’ coastal aroma, dusty murk of dropwort and marsh valerian, rustling cyan flax, hop-cones, the stretched herb that calms the drinker’s ailment; clean rye-blossom, the smoking of the rye, the brown fern-blossom’s mystical secret united with an erupting shoot, lusting dandelions. Iveta’s work is populated by flowers set against a backdrop of a thousand members of nature. K. Karutis, in his “Etymological Dictionary,” notes that the Latvian word for “color” derives from the Larvian word for “flower.” Iveta goes even further, deriving from the flower her entire worldview.
Latvian tradition holds that one ought not say about a flower, “How beautiful!” One shouldn’t say such a thing about a child, either, or newborn livestock, or crops. Saying so could drive the beauty away. A flower called beautiful won’t give way to fruit. The curse can only be lifted by the receipt of an odd compliment – that you yourself have a beautiful backside!
It’s unclear how the beauty of a textile is affected by its celebration. For safety’s sake, not a single syllable more about beauty! Instead of beauty, we can talk in terms of aesthetics, in the same distinguished way as we might talk about the flag, or honor, or love. Iveta herself speaks in the language of aesthetics.
No bérnîbas Iveta jüt vienotîbu ar dabu, kas pleßas lielumå, sazarojas veidolos un uzplaukst pilnesîbå. Tås mistiskå svétdarbîba uzliesmo brîΩos, kad måksliniece atvasina télus no dabas un ieauΩ tos gobelénos vai ieglezno zîdos. Debesis, ezers, kalns, koks, akmens, véjß, zieds, putns, zeme… Aiz vispårinåtiem jédzieniem Iveta paslépj veselu ré˚inu precîzu vårdu, izjütu un zemtekstu ar daudzåm nozîmém. Viñas lauku re©istrå aiz zieda slépjas Naujienas zilie cigoriñi, bißu amoliñß ar zumoßåm bitém, ce¬mallapas spéks, baltais smalkais åboliñß, spradzeñu jeb meΩa zemeñu noras, ezera cükausis baltzieda tütiñå, kas vélåk pårvérßas sarkanå vålîté; bißkrésliña romantika, Råznas p¬avu deviñvîru spéks, naktsvijoles un dzeguΩkurpîtes, Jåñu vainagå neiztrükstoßais raspodiñß, jasmînziedu krümi un liepziedu måkoñi, Cirmas ezera violetå mårsila salas, sauktas arî par smerde¬iem – vecvîru bårdiñåm; Gaujas ielejas madaru reibinoßais nepråts, paßpårliecinåtås asinszåles, raudeñu paråde: ståv visas kå viena; dzeltenås ka˚pédiñas, rüsganie runça pautiñi, zilo vizbu¬u paklåji, maijpu˚îßu smarΩa jürmalå, putekßñu miglas vîgrieze un baldriåni purvå, çauganais linu zilais, apiñu ˚ekari, apdziras jeb staipekñi, kas palîdz dzéråju kaitei; tîrås rudzupu˚es, rudzu küpéßana, papardes brünie ziedi un to mistiskais noslépums ar asna izß˚ilßanos, kaislîgås pieneñu p¬avas… K. Karulis “Etimolo©ijas vårdnîcå” skaidro, ka no vårda “zieds”– tas, kas spîd, mirdz, laistås, proti, ir auga koßåkå da¬a, atvasinåta nozîme “kråsa”. Iveta iet tålåk un no zieda atvasina pasaules uzskatu.
Latvießu ticéjums vésta, ka nevajag teikt par pu˚ém: kådas skaistas! Uz bérniem, jauniem lopiem un labîbu arî ne – var nobrînît. Un tad auglis neienåkas. Atburt atpaka¬ varot ar ßerpumu – tev paßam skaista paka¬a!
No rakstiem nav zinåms, vai tekstila skaistuma daudzinåßanai ir kåds sakars ar nobrînîßanu. Lai bütu kå büdams, piesardzîbas dé¬ par skaistumu vairs ne zilbi. Var runåt par estétiku. Tik sakåpinåti kå par karogu, godu un mîlestîbu, un Iveta tå arî dara.
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The essence of a magical formula is its repetition, language and rhyming. Iveta’s textiles share this essence, for Iveta returns, and returns again, to her most beloved subjects, each time reexperiencing them and each time creating a new rhythm, new constellations of color, a new world. She idealizes nature, depicting it not as it appears in the mirror, but seeking to reveal nature’s energy and potential on a human scale. In her tapestries, nature’s light and the fire of the soul flare together.
Nature in the context of art is its own reality. Iveta’s textiles have a characteristic parallelism – the same which, in Latvian folk songs, binds men and oaks, women and lindens. The parallelism is determined by psychology. Folklore foresees an increasingly fine-grained symbolism, one in which “parallel means of expression stand not in relation to each other, but lie in a single plane: the same thought, each time arising from different words.”1 The scholar of folk songs borrows a label from the lexicon of the textile. Transformation in a textile’s composition is effected by the movements of the artist’s spirit; yet, at the same time, her spirit echoes throughout nature. In considering the biological cycle of sprouting, stretching, blossoming, wilting, extinguishing, the careful observer notes how life ends to start anew, how the thoughts on the surface of a mind shift eternally, how time passes. Especial awareness arises from the possibility of being in a place where one is usually overcome by fear. In Iveta’s art, the most profound states of being are iconized by the water-lily.
A white flower upon a lake… A unified cosmic space… The lake begins where God draws near. God encompasses creation like the lake’s depths circumscribe the flower. It is the epitome of a moment in solitude. The lake addresses the flower in the same way as the cosmos speaks to the individual. Boundless passion requires neither peripatetic time nor another’s solace – it requires, instead, solitude and yearning.
Ma©iskajås formulås bütiska ir atkårtoßana, vårdoßana, rîméßana. Lîdzîgi notiek Ivetas tekstilå, kur viña atkal un atkal atgrieΩas pie iemî¬otiem téliem, ikreiz pårdzîvojot tos ar iztéles spéku un radot arvien jaunu ritmu, jaunu kråsainîbu, jaunu pasauli. Viña idealizé dabu, pirmatnéjîbas tvérumam pretî liekot nevis spogu¬attéla atbilstîbu, bet gan spéju izteikt dabas ener©étisko potenciålu cilvéciskå mérogå. Gobelénos ieaustå gaisma uzliesmo kopå ar dvéseles uguni.
Daba måkslas kontekstå tiek uztverta kå paßvértîga realitåte. Ivetas tekstilam ir raksturîgs paralélisms, tas pats, kas latvießu tautasdziesmås délus saista ar ozoliem, bet meitas ar liepåm. To nosaka psiholo©ija. Folkloristika paredz vél ßauråku savrupinåjumu – sinonîmo paralélismu, kur “paralélås izteiksmes neståv viena ar otru simbola attiecîbås, bet gu¬ vienå plåksné un izsaka abas reizes vienu un to paßu domu daΩådiem vårdiem, tå radot ß˚eterétu izteiksmi,”1 dainu pétnieks aizñemas apzîmétåju no tekstila leksikas. Transformåcijas tekstila kompozîcijås izraisa tas, kas risinås måkslinieces dvéselé, un dabas elementos més sadzirdam viñas dvéseles atbalsi. Vérojot biolo©isko ciklu – dîgßanu, augßanu, plaukßanu, nobrießanu un iznîcîbu, skatîtåjs ierauga, kå aizsåkas, züd un atdzimst dzîvîba, kå müΩîgi mainås paßrefleksija un laiks atce¬as. Èpaßais satraukums rodas no iespéjas büt tur, kur parasti pårñem bailes. Noslégtîbå jeb, kå teiktu Iveta – auzås paßam ar sevi, vai agresîvå ekspansijå, proti, galéjos esîbas ståvok¬os. Ivetai tos visbieΩåk izsaka ikoniskå zîme – üdensroze.
Balta pu˚e ezerå… Viena kosmiskajå telpå… Ezers såkas tur, kur sajüt Dievu pienåkam. Dievs apñem radîbu kå üdens dzelme pu˚i. Tas ir izcilais vientulîbas mirklis. Ezers uzrunå pu˚i tåpat kå Visums cilvéku. Lielai kaislîbai nevajag laikmeta peripetijas vai otra cilvéka mierinåjumu – tai vajag vientulîbu un ilgoßanos. Un katram ezeram ir cits üdens, piebilst Iveta.
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Foto
: V. L
apiñ
ß 49
Iveta Vecenåne
LaimeVissvarîgåkais, ko ikviens cilvéks dzîvé vélas
atrast, ir laime. Katrs més ejam savu laimes mekléjuma ce¬u. Mana Svétlaime nåk no bérnîbas, kad vasarås dzîvoju ar savåm vecmåmiñåm. Visspilgtåk sirdî nesu dzîvås laimes sajütu, kad gåjåm pérties melnajå dümu pirtiñå. Tad no tås varéja izskriet pliks, sédét vakara vésmas apñemtå p¬aviñå uz celma, acis laist påri vecmåmiñu noplüktam linu acis laist påri vecmåmiñu noplüktam linu acis laist påri vecmåmiñu noplülaukam, sajust virs küpoßå pleca méness ripu un üdeni smelt no tumßos krümos ieaugußå pirts dî˚a. Dzîvot bezΩogu pasaulé, vien ¬auties dabas pieskårienam visas vasaras garumå. Piedzîvot mirk¬us, kad var iemest pilsétai domåtås baltås lakådas kurpes krümos un iekåpt visdzi¬åkajå un lielåkajå pe¬˚é, sajütot, kå dub¬i spieΩas starp kåju pirkstiem.
Vél joprojåm måku, nu jau ar savåm meitåm, bradåt pa målainåm pe¬˚ém, ¬auju sniega pårslåm tecinåt melno tußu no skropståm, ¬auju gavilét savai bérna sirdij.
FortuneAll of us desire to find one thing above all
others: good fortune. Each of us proceeds along the fortune-seeker’s path. My blessedness dates from childhood, when I passed the summers with my grandmothers. The feeling of good fortune gleamed most brightly in my heart when we went to wash in the smoky, darkened sweat-house. I would run outside naked and sit on a tree-stump in the field, encompassed by the coolness of the evening, running my eyes over my grandmothers’ plucked flax-stalks, sensing the disc of the moon upon my shoulder, drawing water from the overgrown pond. I lived in a world without fences, and nature caressed me all summer long. I had white shoes, meant for the city, and I left them in the bushes to step in the deepest puddle, to feel the mud squish between my toes.
I still wade through clayey puddles (though now my daughters join me), and allow snowflakes to mottle the makeup in my eyelashes. I let my inner child rejoice.
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Rîta gaismaValdzinoßå, biedéjoßå nakts tumså mekléju
sevi. Savas domas un rokas atraisu vienîgi rîta gaismå. Rota¬åjoties cenßos satvert katru saules staru un ieaust gobelénå vai iepludinåt zîdå. Pagåja çetrdesmit gadi, lai es saprastu müΩsenu dzîves patiesîbu – rîts gudråks par vakaru. Manas profesijas privilé©ija ir celties bez modinåtåja, ¬auties rîta gaismai un strådåt kopå ar to. Tå ir arî mana darba virsvértîba. Laime dubultojas, kad satieku savu darbu skatîtåju, kurß uztver, iedzi¬inås, izjüt rîta gaismas piepildîtos un manis noaustos lielos laukumus.
Mans mî¬åkais darba ménesis ir februåris, kad baltås sniega kupenas kåpj iekßå pa logu, istabå ir silti un svaigi, skan sarkana müzika. Tad apstådinu laiku un neΩéloju kråsas koßumam.
Morning’s LightI pursue my self in the midst of the beguiling,
awing night. I only unravel my thoughts and hands in the light of the morning. Playfully, I seek to catch every ray of sunlight; I weave the rays into my tapestries, and allow them to bleed into my silks. It took forty years for me to understand an eternal truth of life: the morning is wiser than the night. The privilege of my
profession is that I need not set an alarm for the morning, but can awake with
the light of the sun and work in its company. I consider it my work’s greatest value. When I meet someone who glimpses, enters, and senses the morning’s light in my work, my fortune doubles. My favorite month for working is February, when the white snowbanks climb in through the window, the rooms are warm and smell fresh, vermilion music
plays. Then, I stop time, and cease to pity colors for their brightness.
the light of the sun and work in its company. I consider it my work’s greatest value. When I meet someone who glimpses, enters, and senses the morning’s light in my work, my fortune doubles. My favorite month for working is February, when the white snowbanks climb in through the window, the rooms are warm and smell fresh, vermilion music
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Skiçu laiksVienmér mani saistîjusi jaunrade. Tad kaut
kas plosa, pléß pakrüti, nekur nav rodams miers, kå sîkas adatiñas skraida pa ˚ermeni. Jütos kå jauna ˚éve tumßå meΩå, kur aiz gadsimtus redzéjußiem kokiem gaudo vilku bari, manås kåjås un zobos stingst jaunîbas, dzîvotgribas spéks. Pirkstu galos koncentréjas domas un izjütas, kuras laiΩu skrieties pa balto papîru. Ìimenei ßis ir påbaudîjumu laiks, jo ikdienu es nejütu. Bet vél neesmu sañémusi balto papîru. Ìimenei ßis ir påbaudîjumu laiks, jo ikdienu es nejütu. Bet vél neesmu sañémusi balto papîru. Ìimenei ßis ir påbaudîjumu laiks,
pårmetumus, vien kluséjoßu véroßanu. Vai manéjie redz domu deju? Paldies par iejütîbu un dotajiem laimes mirk¬iem.
Tad såkas skiçu raudzéßanas, rügßanas, nobrießanas laiks. Reizém tie ir gadi, reizém méneßi, kad beidzot saprotu, ko esmu saskicéjusi. Nu var ˚erties pie materiåla.
SketchingNew creation has always fascinated me.
Something tears, rends at the jowl, peace is lost entirely; it is as if tiny needles were coursing through my body. I feel like a young mare in a dark forest where wolfpacks howl among the ancient trees, my youth and desire to live tensing in my feet and in my teeth. Thoughts and emotions rush into the tips of my fingers, from where they spill onto the white sheet of paper. For my family, this is a trying time, because I no longer feel the days passing. But I haven’t yet received admonishment; I have instead been quietly observed. Does my family see the dance of my thoughts? Thank you for your understanding and the moments of fortune you have bestowed upon me.
Then I allow the sketch to ferment, leaven, sit. Sometimes for years, sometimes for months, until at last I understand what it is that I have sketched. Now I can gather my materials.
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DarbsDarît darbu un baudît svétlaimi péc padarîtå,
roΩlapiñås nomazgåt sviedru smarΩu. Svétsvinîgi uzsåkt katru darba posmu. No rîta gultå visu pårdomåt. Strådåt viegli, érti, bez piepüles, neizß˚iest laiku veltîgiem so¬iem un kustîbåm. Iet mazåko pretestîbas ce¬u. Noglåstît stelles un pateikties par uzticîgu kalpoßanu. Stelles man uztaisîja meistars Krieviñß no Valmieras, sakot, ka tås ir labåkås viña müΩå. Pañemt rokå ar 1841. gadu datétu vecå Bétiña platumturi, kas uzñémis sevî visas pasaules audéju spéku un lepnumu. Sabért kamolus latgaließu sétuvé, kuras sétie séjumi baroja daudzas cilvéku paaudzes. Iekåpt stellés un ß˚ilt savu patîbu, sajust, kå atveras pasaule, dzijas pavedienos såk skrieties mani sapñu zirgi un såk ziedét zvaigΩñu ziedi. Domås noliecu galvu visu sievießu müΩu priekßå, kuri ir léni un pacietîgi gåjußi savu såpju ce¬u, un slavinu nesamaitåto sieviß˚îbu. Kå divus pavedienus rokås virpinu sievießu un vîrießu mijiedarbîbas skaistumu.
WorkTo work and enjoy the feeling of blessedness
afterwards, to wash away the smell of sweat with rose petals. To blessedly begin each new session of work. To consider it all in the morning, while still in bed. To work lightly, comfortably, without excess effort, without wasting time on inessential steps and motions. To walk the path of least resistance. To brush the frames with my fingers and thank them for their faithful service. Master Krieviñß from Valmiera made the frames for me, and he said they were the best he made in his lifetime. To take in my hand old master Betiñß’s spacer, dated from 1841, an object that has absorbed within itself the strength and pride of all the world’s weavers. To pour the balls of yarn into a sower, whose plantings fed many generations. To climb into the frames and split my essence – to feel how the world opens, how my dream-horses gallop along the threads and star-flowers begin to blossom. In my thoughts, I lower my head in front of all women’s lives which, proceeding deliberately and patiently along paths of pain, have nevertheless retained their womanliness. Like two threads turned in my hands, such is the interplay of men and women.
retained their womanliness. Like two threads turned in my hands, such is the interplay of men and women.turned in my hands, such is the interplay of men and women.turned in my hands, such is the interplay of men
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SavéjieDieva esîbu, mîlestîbu visvairåk sajütu no
satiktajiem cilvékiem. Izkåpjot no autobusa, saskrienoties durvîs, paklüpot aiz somas. Protams, man spårnus pieaudzé tie cilvéki, kuri saprot, ka gaisma uz mana pleca ir gudra, kuri uzreiz vai daudzu gadu garumå spéj redzét manu sirdi. Savéjie, gara radinieki, kas uztver balss smalkås intonåcijas, vibråcijas. Palîdz kopîgi pårvarét izmisuma brîΩus. Ar kuriem notiek piedalîßanås lielajå dzîves mistérijå. Tå ir bagåtîba, kuru neviens nevar atñemt. Tu saproti, ka dzîvo pilnasinîgi, ka saproti abpuséjås mîlestîbas likumu. Doßanas un ñemßanas likumu. Tas ir kå ståvét kalna virsotné, ¬aut saulei sildît vaigu un vieglam vasaras véjiñam nopüst lieko karstumu. Apskaidrîba.
Ir cilvéki, kuri liek man sajust asins garßu muté. Tå manî rada saldkaisli, liek mobilizét cîñai katru ˚ermeña ßünu un uzvarét necînoties.
MineI sense God’s existence and love most profoundly
in the people that I meet. Descending from a bus, colliding with the door, tripping upon a purse. Of course, my wings grow through the attention of those people who understand that the light upon my shoulder is wise, those who immediately or over the course of years manage to sight my heart. Mine, my spirit’s relatives, who perceive my voice’s subtler inflections and vibrations. They help me to overcome my soul’s most desperate moments. Together, we participate in the great mystery of life. These are the riches no one can deny us. You understand, one must live boldly, one must study the symmetric variant of love, the law of giving and taking. It is like standing upon the top of a hill, letting the sun warm the cheek and the light breeze of summer blow the excess heat away. Revelation.
There are people who bring the taste of blood to my mouth. They arouse lust, and mobilize all my cells for a war won without a fight.
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Dzeltenais kailumsJa es dzîvotu årpus ßî laika un telpas, tad
ar visu bütni piederétu dzeltenai kråsai. Tajå mît izsmalcinåts, dieviß˚s dvéseles kailums. Mana dvésele dzied, saduroties, pieglauΩoties dzeltenås kråsas daΩådåm niansém, kå gribas tås visas apgüt, iemåcîties, saprast un spéléties viegli un rota¬îgi. Dzeltenås, rozå, salåtza¬ås nianses – tajås kliedz bérna dzîvoßanas bütîba. Asna ziedéßanas alkas. Cik gan daudz uz pasaules ir bérnu, kurus més varam sagaidît, aplaimot, sveikt siltås, sulîgas dzeltenås kråsas kara¬valstî. Vai samtaini dzeltenajå nav rudzu lauka ziedéßanas spéks? Stiebrs pie stiebra. Visi kopå. Vai pirmå pienene pie uzarta lauka nav mîlestîbas brînums? Vai k¬avu lapu atdodoßais zelts nav siltuma, spéka avots visai ziemai? Pietuvoßanås patiesîbai, sapråtam, godîgumam. Reizém jau aiztaigåju pie citåm kråsåm parunåties, bet vienmér atgrieΩos pie dzeltenås, îpaßi laimes brîΩos.
Vél. Ja dzîvotu årpus ßî laika un telpas, es gribétu atgriezties man zinåmå vietå, kuru nav skårusi elektrîba, kur aug simtgadîgi ozoli. Tur pavénî izpleties tükstoßgadu vecs roΩu krüms. Kå gribas vasaras saules gaismå våkt roΩlapiñas, kaltét tås maizes kråsnî, ziemå piebért téjai, izkaisît vannå un plunçinåties tajå. Reizém müsu sapñi piepildås vai pårvérßas måkslas darbos, kas dod patvérumu.
Yellow NakednessWere I to live outside this time and space, then
my entire being would belong to the color yellow. In the color yellow resides the rarefied, celestial nakedness of the soul. Colliding and grazing the color yellow in all its various nuances, my soul sings, wanting to comprehend all the hues at once, learn them, understand and dance lightly and playfully. The yellow, pink, salad-green nuances – those are the yells from the core of childhood. The desire of a seedling to sprout. There are so many children on this earth, so many to await, to bless, to welcome into the warm, lush kingdom of the color yellow. Aren’t the fields of rye velvety-yellow? Stalk by stalk. All together. Isn’t the first dandelion beside a ploughed field the mystery of love? Isn’t the maple leaf’s gold color in autumn a spring of warmth and strength for the entire winter? Nearing truth, understanding, honesty. Sometimes, I speak with other colors, but I always return to yellow, especially in moments of blessedness.
Still more. Were I to live outside this time and space, then I would like to return to a place untouched by electricity, where ancient oaks grow. A thousand-year-old rose bush sprawls there. How I desire to gather rose blossoms in the light of the summer sun, then to dry them in the bread oven, and add them to tea in the winter, cast them in the bath and splash the water. Every now and then, our dreams come true, or at least they turn into works of art that give us shelter.
55
IVETA VECENÅNE
Dzimusi 1962. gada 24. septembrî Rîgå.
Izglîtîba
1973–1978 Rîgas 3. vidusskola.
1978–1982 Rîgas Lietiß˚ås måkslas vidusskolas tekstilmåkslas noda¬a.
1982–1988 Latvijas PSR Måkslas akadémijas tekstilmåkslas noda¬a;
diplomdarbs “Dieviena”, diplomdarba vadîtåjs Rüdolfs Heimråts.
2004. gadå ieguvusi måkslas ma©istra grådu.
No 1988. gada brîvmåksliniece.
Latvijas Måkslinieku savienîbas biedre no 1993. gada.
Latvijas Tekstilmåkslas asociåcijas biedre no 1994. gada.
Personålizstådes
(muzeju nosaukumi doti saskañå ar 2007. gadu)
1991 Daugavas muzejs, kopå ar kerami˚i Elmåru Vecenånu, Dole.
Pirmå spéku pårbaude, saprotu, ka varu pañemt telpu un lîksmot ar pureném Daugavas krastå.
1992 DMDM.
Kå jauns asns atrodu savu ce¬u, uzdrîkstoties veidot izstådi vietå, kur atradies senåkais Rîgas kristîgais dievnams.
1993 Madonas Novadpétniecîbas un måkslas muzejs.
1994 Ventspils muzejs.
1996 Kuldîgas novada muzejs.
Galerija “Laiva”, kopå ar Inesi Brants, Rîga.
1998 DMDM galerija “Apsîda”.
Galerija “Rüdolfs”, viesnîca “Latvija”, Rîga.
1999 “Viss no viena.” DMDM galerija “Apsîda”.
2001 DMDM galerija “Apsîda”.
2002 DMDM galerija “Apsîda”.
Latvijas Le¬¬u teåtris, Rîga.
“Exigen Latvia”, Rîga.
2003 “Kråsu dårzs”, teåtra “Estonia” ziemas dårzs, Tallina.
2004 “Gaismas gaita”, kopå ar papîra gaismas objektu måksliniekiem
‰riku Målderi un Aigaru Lenkéviçu, Valmieras Dråmas teåtris.
“Melnå majolika un Dzeltenais gobeléns”, kopå ar kerami˚i Inesi
Brants, DMDM galerija “Apsîda”.
2005 “Pieskåriens”, galerija “Bonhans. S”, Rîga.
“Sniegoga”, kopå ‰riku Målderi un Aigaru Lenkéviçu, DMDM.
Piepildås sapnis tekstilu sakausét ar gaismas skulptüråm, radot niansétas noskañas.
2006 Kopå ar stikla måkslinieci Inesi Liepiñu, DMDM galerija “Apsîda”.
Més runåjam daΩådos materiålos, bet vienå valodå. Césu Véstures un måkslas muzejs.
The Stone Avenue Gallery, Tüsona, Arizonas ßtats, ASV.
Ekspozîcija izstådé “Mébeles 2006”, îpsalas halle, Rîga.
Galerija “Måksla”, kopå ar Inesi Liepiñu, Rîga.
Galerija “Krasts”, viesnîca “Hotel de Rome”, Rîga.
2007 Galerija Aukso Avis, Vi–a.
IVETA VECENÅNE
Date of birth: September 24, 1962, Riga, Latvia.
Education
1973–1978 Riga Secondary school No 3.
1978–1982 Riga School of Design and Art.
1982–1988 Latvian Academy of Arts, Textile department, diploma work
“Dieviena”, adviser – Rüdolfs Heimråts.
2004 MA degree.
Occupation: freelance artist since 1988.
Membership: 1993 – Latvian Artists’ Union.
1994 – Latvian Textile Artists’ Association.
Exhibitions (names of museums are given according to 2007)
Solo shows
1991 Dole Museum of History, together with ceramist Elmårs Vecenåns.
First trial of strength gives understanding that I can manage space and be delighted about marsh marigolds by the riverside of the Daugava.
1992 MDAD.
Like a young sprout I find my way daring to arrange my exhibition in a place where the oldest Riga Christian church has been founded.
1993 Madona Museum of History and Art.
1994 Ventspils Museum.
1996 Kuldîga District Museum.
Gallery “Laiva”, together with Inese Brants, Riga.
1998 MDAD, gallery “Apsida”.
Art gallery “Rudolfs”, hotel “Latvija”, Riga.
1999 MDAD, gallery “Apsida”: All from One”, Riga.
2001 MDAD, gallery “Apsida”.
2002 MDAD, gallery “Apsida”.
Exhibition at Latvian Puppet Theatre.
Exhibition at “Exigen Latvia”, Riga.
2003 Conservatory of Estonian National Opera “Estonia”: “Garden of
Colours”, Tallinn.
2004 Exhibition at Valmiera Drama Theatre (together with E. Maldere, A.
Lenkevics), Valmiera (Latvia).
Exhibition “Pace of Light” at Valmiera Drama Theatre (together with
designers of paper lamps E. Maldere and A. Lenkevics), Valmiera.
“The Black Majolica and Yellow Tapestry” together with ceramist
Inese Brants, MDAD, gallery “Apsida”.
2005 Exhibition “The Touch “ at the gallery “Bonhans. S”, Riga.
Exhibition “Snowberry” at the MDAD (together with designers of
paper lamps E. Maldere and A. Lenkevics).
The dream about melting textile with sculptures of light comes true resulting in tinted mood.
2006 Exhibition together with artist of glass Inese Liepina, MDAD, gallery
“Apsida”.
We use different means of expression, but we feel the same.
56
Grupu izstådes
1985 Republikas 3. tekstilmåkslas izståde, izståΩu zåle “Latvija”, Rîga.
Tekstilmåkslas mazo formu izståde, izståΩu zåle Latvija, Rîga.
1986 Konkursa izståde “Arona – 86”, Madonas Novadpétniecîbas un
måkslas muzejs, kopå ar G. Gabrånovu, 3. prémija.
“Eksperimentålais tekstils”, izståΩu zåle “îpsala”, Rîga.
Pirmais nopirktais darbs studentei. Visu naudu – 400 rb¬.– iztéréju materiålu iegådei. Lins, vilna. Varu strådåt, neierobeΩojot savus sapñus.
Tekstilmåkslas mazo formu izståde, izståΩu zåle “îpsala”, Rîga.
1989 “Låçplésis”, LNMM izståΩu zåle “Arsenåls”.
Otrais nopirktais darbs manas mammas 14 méneßalgu apmérå. Ticîba tam, ko daru, pieaug.
“Telpa un forma”, LNMM izståΩu zåle “Arsenåls”.
Republikas jauno måkslinieku izståde, LNMM izståΩu zåle “Arsenåls”.
1990 Jauno måkslinieku darbu izståde, izståΩu zåle “Jåña séta”, Rîga.
Republikas tekstilmåkslas izståde, DMDM.
1991 5. starptautiskå simpozija izståde, DMDM.
Baltijas republiku miniatürtekstîliju izståde, Tallina.
1992 6. starptautiskå tekstilmåkslinieku darbu izståde, DMDM.
Republikas metålmåkslas izståde, DMDM.
Latvijas lietiß˚ås måkslas izståde, DMDM.
Latvijas måkslinieku darbu izståde Sodermanlands, Eskilstünas
muzejs, Zviedrija.
1993 Latvijas lietiß˚ås måkslas izståde, DMDM.
1994 Starptautiskå tekstilmåkslas simpozija izståde, DMDM.
“Kolonnas slavinåßana”, salons “Kolonna”, Rîga.
Galerijas “Laiva” izståde “Taka”, Daugavpils dome, Latvija.
1995 Lietiß˚ås måkslas izståde, LNMM izståΩu zåle “Arsenåls”.
I Latvijas Tekstilmåkslas asociåcijas izståde, LNMM izståΩu zåle
“Arsenåls”.
1996 Lietiß˚ås måkslas izståde, LNMM izståΩu zåle “Arsenåls”.
galerijas “Laiva” gada jubilejas izståde, Rîga.
II Latvijas Tekstilmåkslas asociåcijas izståde, LNMM izståΩu zåle
“Arsenåls”.
1997 Latvijas Tekstilmåkslas asociåcijas izståde, Talsu Novadpétniecîbas
un måkslas muzejs, Latvija.
Galerijas “ Laiva” izståde, Kråslava, Latvija.
Galerijas “Laiva” Rîgas 800-gadei veltîta konkursizståde, Rîga.
Galerija “Rüdolfs”, viesnîca “Latvija”, Rîga.
“Gaisma tîklå”, DMDM.
Latvießu måkslinieku darbu izståde, Hamburga, Våcija.
1998 III Latvijas Tekstilmåkslas asociåcijas izståde, LNMM izståΩu zåle
“Arsenåls”.
II vispåréjå latvießu måkslas izståde, DMDM.
Teåtra “Estonia” ziemas dårzs, Tallina.
Latvijas Tekstilmåkslas asociåcijas izståde, Talsu Novadpétniecîbas
un måkslas muzejs, Latvija.
“Ne gobeléns”, DMDM.
Latvijas Tekstilmåkslas asociåcijas izståde, Césu Véstures un
måkslas muzejs, Latvija.
Cesis Museum of History and Art.
“The Stone Avenue Gallery”, Tucson, Arizona, USA.
Display at the exhibition “Furniture 2006”, Exhibition hall of Kipsala,
Riga.
Gallery “Art” together with Inese Liepina, Riga.
Gallery “Krasts” at “Hotel de Rome”, Riga.
2007 Gallery “Aukso Avis”, Vilnius.
Group exhibitions
1985 3rd Textile Exhibition of Latvia, exhibition hall “Latvia”, Riga.
Exhibition of small–size textiles, exhibition hall “Latvia”, Riga.
1986 Juried exhibition “Arona –86”, Madona History and Art Museum,
together with G. Gabranovs, 3rd prize.
“Experimental textile”, exhibition hall “Kipsala”, Riga.
The student sells the first work of art. All money – 400 roubles I spent for purchase of materials: linen, wool. I can work without any barriers limiting my dreams.
Exhibition of small–size textiles, exhibition hall “Latvia”, Riga.
1989 “Lacplesis”, the LNMA, exhibition hall “Arsenals”.
The second work sold for price equal to 14 salaries earned by my mother. Belief in what I do increases.
“Space and form”, the LNMA, exhibition hall “Arsenals”.
Exhibition of young artists of Latvia, the LNMA, exhibition hall
“Arsenals”.
1990 Exhibition of young artists, exhibition hall “Jana Seta”, Riga.
Latvian textile exhibition at the MDAD, Riga.
1991 5th International symposium exhibition at the MDAD, Riga.
Exhibition of the Baltic minitextiles in Tallinn (Estonia).
1992 6th International exhibition of textile at the MDAD.
Exhibition of metal art, MDAD.
Exhibition of Latvian applied art at the MDAD.
Exhibition of Latvian artists in Sweden, Sodermanlands, Eskilstun
museum.
1993 Exhibition of Latvian applied art at the MDAD.
1994 International Textile symposium exhibition at the MDAD.
“Glorification of Column”, art gallery “ Kolonna”, Riga.
Exhibition “The Path” in Daugavpils organized by art gallery “Laiva”,
Daugavpils city council.
1995 Exhibition of applied arts at the LNMA, exhibition hall “Arsenals”.
1st exhibition of the Latvian Textile Artists’ Association at the LNMA
exhibition hall “Arsenals”.
1996 Exhibition of applied arts at the LNMA, exhibition hall “Arsenals”.
Anniversary exhibition of the art gallery “Laiva”.
2nd exhibition of the Latvian Textile Artists’ Association at the LNMA,
exhibition hall “Arsenals”.
1997 Exhibition of the Latvian Textile Artists’ Association at Talsi Museum
of History and Art.
Exhibition of the art gallery “Laiva” in Kraslava.
Competition show dedicated to “Riga 800” at the art gallery
“Laiva”.
Exhibition at the art gallery” Rudolfs”, hotel “Latvia”, Riga.
“Light in the Net” at the MDAD.
57
Konkursa izståde “Rîgai 800”, Latvijas Måkslinieku savienîbas
galerija, Rîga.
1999 Latvießu måkslinieku darbu izståde, Hamburga, Våcija.
Latvijas Tekstilmåkslas asociåcijas izståde*, Aténas, Grie˚ija.
IV Latvijas Tekstilmåkslas asociåcijas izståde, Sv. Pétera baznîca,
Rîga.
Galerija “Bastejs”, Rîga.
Latvijas Tekstilmåkslas asociåcijas izståde*, Çehijas prezidenta pils,
Pråga.
2000 V Latvijas Tekstilmåkslas asociåcijas izståde, LNMM izståΩu zåle
“Arsenåls”.
Konkursa izståde “Lietiß˚å måksla 2000”, DMDM.
2001 Eiropas tekstilmåkslas izståde “Tradicionålais un laikmetîgais”*,
LNMM izståΩu zåle “Arsenåls”.
VI Latvijas Tekstilmåkslas asociåcijas izståde, LNMM izståΩu zåle
“Arsenåls”.
2002 Latvijas Tekstilmåkslas asociåcijas izståde “Miniatürtekstîlijas”,
DMDM galerija “Apsîda”.
Izståde “Gulta”, DMDM.
VII Latvijas Tekstilmåkslas asociåcijas izståde, DMDM un Césu
Véstures un måkslas muzejs, Latvija.
2003 VIII Latvijas Tekstilmåkslas asociåcijas izståde “Pasaule pasaulé”,
LNMM izståΩu zåle “Arsenåls”.
Latvijas Tekstilmåkslas asociåcijas izståde, Césu Véstures un
måkslas muzejs, Latvija.
2004 IX Latvijas Tekstilmåkslas asociåcijas izståde, DMDM.
2005 X Latvijas Tekstilmåkslas asociåcijas izståde, DMDM.
2006 “Divvirziena kustîba”, DMDM.
XI Latvijas Tekstilmåkslas asociåcijas izståde, DMDM.
“Tekstils+X”, Latvijas Måkslinieku savienîbas galerija, Rîga.
“Mandala”, galerija Aukso Avis, Vi¬ña.
2007 XII Latvijas Tekstilmåkslas asociåcijas izståde, DMDM.
Kolekcijas
Dekoratîvås måkslas un dizaina muzejs:
“Staburadze”. 1989., gobeléns, 180∞360 cm.
“Vientulîba”. 1992., gobeléns, 90∞160 cm.
“Divi dîvi”. 1990., autortehnika, 220∞245 cm.
Eskilstunas muzejs, Zviedrija:
“Ce¬ojums uz Sarkañu baznîcu” 1992., gobeléns, 110∞160 cm.
Rîgas Komercbanka:
“Véja zieds”. 1994., gobeléns, 180∞390 cm.
“Krasts”. 1994., gobeléns, 110∞160 cm.
Rîgas 2. müzikas skola:
“Atvasara”. 1997., gobeléns, 180∞490 cm.
Saîsinåjumi:
* katalogs
DMDM – Dekoratîvås måkslas un dizaina muzejs, Rîga.
LNMM – Latvijas Nacionålais måkslas muzejs, Rîga.
Exhibition of Latvian art in Hamburg, Germany.
1998 III Exhibition of the Latvian Textile Artists’ Association at LNMA,
exhibition hall “Arsenals”.
2nd Nationwide Latvian Art exhibition at the MDAD.
Winter garden of the theatre “Estonia”, Tallinn.
Exhibition of the Latvian Textile Artists’ Association at Talsi Museum
of History and Art.
Exhibition “No Textile” at the MDAD.
Exhibition of the Latvian Textile Artists’ Association at Cesis
Museum of History and Art.
Competition show “Riga – 800” at the gallery of Artists’ Union of
Latvia, Riga.
1999 Exhibition of Latvian art in Hamburg, Germany.
Exhibition of Latvian textile art in Athens, Greece.
IV Exhibition of Latvian textile art at St. Peter church, Riga.
Exhibition at the gallery “Bastejs”, Riga.
Exhibition of Latvian Textile Artists’ Association at Czech President’s
castle, Prague.
2000 V Exhibition of Latvian textile art, Riga.
“Applied Art 2000” – exhibition at the MDAD.
2001 European Textile Art exhibition “Traditional and Innovation”, LNMA,
exhibition hall “Arsenals”.
VI exhibition of the Latvian Textile Artists’ Association, LNMA,
exhibition hall “Arsenals”.
2002 Exhibition of Latvian Textile Artists’ Association “Miniature Textile
Art” at MDAD, art gallery “Apsida”.
Exhibition “The Bed”, MDAD.
VII Exhibition of the Latvian Textile Artists’ Association, MDAD and
Cesis Museum of History and Art, Latvia.
2003 VIII Exhibition of Latvian Textile Artists’ Association “The World All
Over the World”, LNMA, exhibition hall “Arsenals”.
Exhibition of Latvian Textile Artists’ Association at Cesis Museum of
History and Art.
2004 IX Exhibition of Latvian Textile Artists’ Association, MDAD.
2005 X Exhibition of Latvian Textile Artists’ Association, MDAD.
2006 Exhibition “Two–way movement, MDAD.
XI Exhibition of Latvian Textile Artists’ Association, MDAD.
Exhibition “Textile+X”, Gallery of Latvian Artists’ Union, Riga.
Exhibition “Mandala”, gallery “AUKSO AVIS”, Vilnius.
2007 XII Exhibition of Latvian Textile Artists’ Association, MDAD.
Works in collections
Museum of Decorative Arts and Design:
“Staburadze”, 1989, tapestry, 180∞360 cm.
“Loneliness”, 1992, tapestry, 90∞160 cm.
“Two”, 1990, author’s technique, 220∞245 cm.
Eskilstun Museum, Sweden:
“Travel to the Sarkani Church”, 1992, 110∞160 cm.
Riga Commercial Bank:
“Flower in the Wind”, 1994, tapestry, 180∞390 cm.
“The Bank of the Lake”, 1994, tapestry, 110∞160 cm.
58
Grafiskais dizains
Gobelénu reprodukcijas S. Vieses gråmatå “Dieviena”. R.: Zvaigzne
ABC, 1994.
Folkloras grupas “I¬©i” kompaktdisks “Kaza kåpa debesîs”, 2003.
EtnodΩeza grupas “Patina” kompaktdisks, 2006.
Kostîmi
Daces Micånes–Zålîtes pasakas “Reiz bija” iestudéjums, Rîgas
bérnu un jaunießu muzikålais teåtris RîBéJa MuTe, VEF Kultüras pils,
2006.
Publikåcijas / Publications
Vecenåne, I. Mans vectétiñß Antontiñß. R.: Madris, 1999.
Baranovska, I. Par simpozijiem // Måksla, 1992. Nr. 3.
Libeka, M. No melnas dub¬ainas zemes radås Ivetas gobeléni //
Elpa, 1993. 8. jünijs.
“Man patîk dzîves sula”. A.Vanagas intervija // Sieviete, 1993. Nr. 3.
Bérsone, G. Tautas gara hronika novada epå…// Labrît, 1995.
27. februåris.
Vanaga, A. Nimfîdiskais motîvs // Måksla +, 1997. Nr. 2.
Vanaga, A. Divi gabali iz “Ëdens” // Literatüra. Måksla. Més.
1996. 28. 11.
Latvijas tekstilmåksla. Latvijas Tekstilmåkslas asociåcija, 1997.
Brînumi reizi gadå. E. Zirña intervija // Diena, 1999. 20. decembris.
Art From Latvia – textile art umeni lotyßska nastenne textilie, 2000.
Донич,О.Нитисудьбы//АрхитектураидизаинБалтии.4(11)август,2002.
Ilustrumm, K. Läti värvikas tekstiil Estonia Talveaias // Linnaleht,
Reede, 28. veebruar, 2003.
Måksla un arhitektüra biogråfijås. 4. R.: Preses nams, 2003.
Iveta Vecenåne. Tekstils [buklets]. 2004.
Kalve, A. Iveta Vecenåne prot piedzîvot Jåñus // Izklaide [laikraksta
“Diena” pielikums], 2005. 17. jünijs–1. jülijs.
Vanaga, A. “Tå pu˚e – tå esmu es” // Studija, 2005, augusts/
septembris.
Ìîbiete, L. Müslaiku brînumpasaka // Kultüras Forums, 2006.
24. novembris–1. decembris.
Dekoratîvås måkslas un dizaina muzejs. Kråjuma katalogs / Museum
of Decorative Arts and Design. Collection catalogue. 2006.
Riga Music School No. 2:
“Indian Summer”, 1997, tapestry, 180∞490 cm.
Abbreviations:
MDAD – Museum of Decorative Arts and Design.
LNMA – Latvian National Museum of Art.
Graphic design
Tapestry reproductions in the book by S. Viese “Dieviena”. R.:
Zvaigzne ABC,1994.
Cover design of folk group “Ilgi” CD “A Goat Climbed up into the
Sky”, 2003.
Cover design of ethnojazz group CD “Patina”, 2006.
Costumes
Fairy–tale performance “Once upon a Time” by Dace Micane–
Zalite, Riga Children and youth musical theatre RiBeJa MuTe, VEF
recreation centre, 2006.
59
Katalogs / Catalog
1. SaulgrieΩi I, II. / Solstice. 1985., vilna, lins / wool, linen 25∞25 cm.
2. Raganîte / Witch. 1985., lins / linen, 160∞230 cm.
3. Darbam pavasarî / Spring‘s Work. 1986., vilna, lins / wool, linen, 120∞150 cm.
4. Vießurs / Lake Viesurs. 1986., vilna, lins / wool, linen, 180∞240 cm.
5. Trejdeviñi / Miles and Miles. 1987., vilna, lins / wool, linen, 30∞40 cm.
6. Staburadze / Staburags (Female). 1988., vilna, lins, DLMM îpaßums / wool, linen, property of MDAD, 190∞260 cm.
7. Staburags / Staburags (Male). 1988., lins / linen, 220∞105 cm.
8. Sega sapñu zirgam / Blanket for a Dream Horse. 1988., lins, sintétika / linen, synthetic, 400∞600 cm.
9. Çetri stüri / Four Corners. 1988., zîda apdruka / silk printing, 250∞250 cm.
10. Papardes / Ferns [aizkari Bulduru sovhoztehnikuma skatuvei]. 1990., vilna, lins / wool, linen, 54 m2.
11. Divi dîvi / Two Divs. 1991., lins, sintétika, DLMM îpaßums / linen, synthetic, property of MDAD, 220∞240 cm.
12. Ce¬ojums uz Sarkañu baznîcu / The Road to Sarkani Church. 1991., vilna, lins, Eskilstunas muzeja îpaßums, Zviedrija / wool, linen, property of Eskilstun museum, Sweden, 95∞150 cm.
13. Lîdums / Clearing. 1991., vilna,
lins, privåtkolekcija / wool, linen, private collection, 170∞110 cm.
14. Nakts påri pilsétai (deta¬a) /
Night in the City (detail). 1992., apdrukåts papîrs, zîds / printed paper, silk, 250∞120 cm.
15. Åbele / Apple Tree. 1992., apdrukåts papîrs, zîds / printed paper, silk, 320∞150 cm.
16. Ce¬ß / The Road. 1992., apdrukåts
papîrs, zîds / printed paper, silk, 220∞170 cm.
17. Vientulîba / Loneliness. 1992., vilna, lins, DLMM îpaßums / wool, linen, property of MDAD, 90∞153 cm.
18. Ezers / Lake. 1992., vilna, lins / wool, linen, 160∞410 cm.
19. Jåñi / Summer Solstice. 1992., vilna, lins / wool, linen, 80∞110 cm.
20. Atvasara / Indian Summer. 1992., vilna, lins, zîds, Rîgas 2. müzikas vsk. / wool, linen, silk, Riga Music School No. 2, 160∞500 cm.
21. Akmeñi [triptihs] / Rocks. 1992., vilna, lins, privåtkolekcija / wool, linen, private collection, 110∞74 cm.
22. Atmiñas / Memories. 1992., vilna, lins / wool, linen, 160∞150 cm.
23. Rozes rudzu laukå / Roses in
the Rye Field. 1992., lins, zîds, autortehnika / line, silk, mixed technique, 320∞250 cm.
24. Véja zieds / Wind Flower. 1993., vilna, lins, Rîgas Komercbanka / wool, linen, Riga Commercial Bank, 180∞360 cm.
25. Ëdensrozes / Water-lily. 1993., vilna, lins, Rîgas Komercbanka / wool, linen, Riga Commercial Bank, 75∞210 cm.
26. Lîdzsvars / Balance. 1993., vilna, lins, privåtîpaßums / wool, linen, private property, 120∞120 cm.
27. Kolonnas slavinåßana / Columns
of Glory. 1994., vilna, lins, privåtîpaßums / wool, linen, private property,150∞90 cm.
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28. Lüzums / Breaking Point. 1994., vilna, lins / wool, linen, 210∞270 cm.
29. Krasts / Seashore. 1994., vilna, lins, Rîgas Komercbanka / wool, linen, Riga Commercial Bank, 110∞170 cm.
30. Rozå p¬ava / Pink Meadow. 1994., vilna, lins, privåtîpaßums / wool, linen, private property, 225∞150 cm.
31. Spéle ar akmentiñiem / Stone Game. 1995., vilna, lins, privåtîpaßums / wool, linen, private property, 225∞150 cm.
32. Uz za¬ås lapas / On the Green Leaf. 1996., lins, vilna, sizåls, zîds / linen, wool, sisal, silk, 200∞400 cm.
33. Tilti / Bridges. 1996., lins, vilna, sizåls / linen, wool, sisal, 200∞400 cm.
34. Kolkas rags / Kolkas Horn. 1996., vilna, lins, privåtîpaßums / wool, linen, private property, 150∞90 cm.
35. Zem spårna (grieze) / Under My Wing (Corn-crake). 1997., vilna, lins, privåtîpaßums / wool, linen, private property, 300∞100 cm.
36. Zem spårna (vanags) / Under My Wing (Hawk). 1997., vilna, lins / wool, linen, 100∞280 cm.
37. Karstais véjß / Burning Winds. 1997., vilna, lins, privåtîpaßums / wool, linen, private property, 150∞110 cm.
38. Karstais véjß / Burning Winds. 1997., vilna, lins / wool, linen, 110∞150 cm.
39. Rîts Doma laukumå / Morning at Dome Square. 1997., lins, sizåls, vilna, privåtîpaßums / linen, sisal, wool, private property, 130∞95 cm.
40. Prieks / Joy. 1998., vilna, lins, privåtîpaßums / wool, linen, private property, 18 m2.
41. Pelékais / Grey. 1998., vilna, lins, privåtîpaßums / wool, linen, private property, 115∞155 cm.
42. Gråmata / The Book “Mans vectétiñß Antontiñß”. 1999.
43. Ce¬azîmes / Signposts. 2000., vilna, lins, privåtîpaßums / wool, linen, private property, 220∞95 cm.
44. Kalns / Mountain. 2001., vilna, lins / wool, linen, 150∞260 cm.
45. Sirds zelta klusumå / Heart in the Silence of Gold. 2001., vilna, lins / wool, linen, 150∞245 cm.
46. Dienu skréjiens bezgalîbå I / Day’s Run into Infinity I. 2001., vilna, lins, privåtîpaßums / wool, linen, private property, 105∞200 cm.
47. Dienu skréjiens bezgalîbå II / Day’s Run into Infinity II. 2001., vilna, lins / wool, linen, 105∞200 cm.
48. Sevî / In Me. 2001., vilna, lins, privåtîpaßums / wool, linen, private property, 100∞105 cm.
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49. Íüpu¬tîkls / Hammock. 2002., sizåls / sisal, 140∞600 cm.
50. Deja / The Dance. 2002., gleznojums uz zîda / silk painting, 85∞200 cm.
51. Rîts / Morning. 2003., vilna, lins / wool, linen, 160∞245 cm.
52. Ëdensroze eñ©elis / Water-lily Angel. 2003., vilna, lins, privåtîpaßums / wool, linen, private property, 150∞90 cm.
53. Piek¬åviens / Together. 2003., vilna, lins / wool, linen, 135∞275 cm.
54. Més abi I, II / Both of Us. 2003., vilna, lins / wool, linen, 150∞90 cm.
55. Pédas sniegå / Footprints in the Snow. 2004., vilna, lins / wool, linen, 160∞205 cm.
56. Sievießu brålîba / Women’s Fellowship. 2004., vilna, lins / wool, linen, 165∞305 cm.
57. Folkloras grupas “I¬©i” kompaktdisks “Kaza kåpa debesîs” / Cover design of folk group “Ilgi” CD “A Goat Climbed up into the Sky”, 2003 2003.
58. Més / Us. 2004., vilna, lins, privåtîpaßums / wool, linen, private property, 160∞160 cm.
59. Pavasaris / Spring. 2005., apgleznots zîds / silk painting, 73∞88 cm.
60. Katram savs lîkumiñß I, II / Everybody has their Turns I, II. 2005., gleznojums uz zîda / silk painting, 95∞210, 180∞90 cm.
61. Ziedéßana I, II, III / Blossom I, II, III. 2005., gleznojums uz zîda / silk pain-ting, 95∞185, 95∞185, 90∞65 cm.
62. No sapñiem uzcelt måju kalna galå I, II / To Build a House from Dreams on Top of the Hill I, II. 2005., vilna, lins / wool, linen, 135∞170 cm.
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63. Sniegogas I, II, III / Snowberries I, II, III. 2005., vilna, lins, privåtîpaßums / wool, linen, private property, 170∞95 cm.
64. Izlaußanås / Escape. 2005, apgleznots zîds / silk painting, 110∞90 cm.
65. Katram savs pavasaris aiz loga / Distinct Views of Spring. 2005., apgleznots zîds / silk painting, 75∞85 cm.
66. Brîvîbai / For Freedom. 2005., vilna, lins / wool, linen, 70∞170 cm.
67. Tålums / Remoteness. 2005., vilna, lins / wool, linen, 170∞225 cm.
68. Mana baltå dzîve / My White Life. 2005., vilna, lins / wool, linen, 160∞225 cm.
69. Ziedi / Flowers. 2005., apgleznots zîds / silk painting, 45∞85 cm.
70. Saules atspulgi / Reflections of
Sunlight. 2005., gleznojums uz zîda / silk painting, 180∞95 cm.
71. Asni / Sprouts. 2006., apgleznots zîds / silk painting, 90∞180 cm.
72. Blakus I, II / Beside. 2006., vilna, lins, privåtîpaßums / wool, linen, private property, 75∞125 cm.
73. Satikßanås I, II / The Encounter I, II. 2006., vilna, lins / wool, linen, 75∞65 cm.
74. Saulîtes / Sunshine. 2006., gobeléns, vilna, lins / wool, linen / tapestry, wool, linen, 160∞135 cm.
75. EtnodΩeza grupas “Patina” kom-paktdisks / Cover design of ethno-jazz group CD “Patina” 2006.
76. Kostîmi D. Micånes–Zålîtes pa-sakas “Reiz bija” iestudéjumam / Costumes for performance “Once upon a Time” by D. Micane–Zalite 2006.
77. Baltie ziedi / White Blossoms. 2007., vilna, lins, privåtîpaßums / wool, linen, private property, 145∞160 cm.
78. Büt / To Be. 2007., vilna, lins / wool, linen, 170∞170 cm.
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Producente / Producer Laila Baumane. Teksts / Text by Anita Vanaga, Iveta Vecenåne. Måkslinieks / Designer Vilnis Lapiñß. Tulkotåjs / Translator Jülijs Liepiñß. Korektori / Proofreaders Benita Baumane, Marc Gaber. Fotogråfi / Photographers Sergejs Akuråters, Normunds Brasliñß, Måris Kundziñß, Vilnis Lapiñß, Harri Rospu, Dainius Stankus. Iespiests tipogråfijå / Printed at the tipography LivonijaL uz Artic the Volume un Munken Lynx 150 g/m2 papîra. Uz våka / On cover Büt (fragments) / To Be (fragment). 2007., vilna, lins / wool, linien, 170∞170 cm. π Iveta Vecenåne, 2007 π Vilnis Lapiñß, 2007
Paldies Ilzei un Jånim Kußneriem
IVETA VECENÅNE TEKSTILS
UDK 745(474.3) (084)
Ve 041
ISBN 978-9984-39-399-5
