Ilgonis Riņķis
Ilgonis started drawing at an early age. He found his mother's drawing notebooks in the attic of his house. Back then, as a small child, he drew a winding river, trees, flowers, people that his mother had drawn. His grandmother also liked to draw, but she was often busy and had no time for it. She ran the farm. However, the little boy was supported, inspired with a kind word, and appreciation. He acquired the next skills and interest in high school from a fine arts teacher. The teacher created a special fine arts class - with color families, gamuts, this class had a special interior. He taught Ilgonis to think - what is a contrasting color, dominant, composition, etc. Later, he studied painting, drawing and composition at the Latvian Academy of Arts for 4 years - these were art courses. It was a very energetic and active time. The young students got together and organized exhibitions, parties. Each time a theme was proposed, which served as the main idea of the event. In parallel with the courses, he studied at the studios of Bruno Celmiņš and Ralfs Jansons. Then for a longer period of time Ilgonis painted paintings on the theme of Pilgrims. It was a biblical theme. They were more like meditative paintings and it moved and fascinated him so much that it seemed to him that he had to leave everything and live anew - Ilgonis entered a Catholic, Dominican monastery. The studies included a lot of philosophy and teachings related to religion. ... and yet, after 3 years of studying, he realized that God is very pleased with people living in everyday life and that there was no need to be in a monastery. Very big personal changes had occurred in his life. For many years he worked in a book publishing house as a layout designer and artist. ... and then one day after many years.. that is 5-6 years ago - he found his old, dusty wooden oil paint box, palette - he smelled the smell of linseed oil and turpentine. And his love for painting blossomed again in his soul. He slowly started painting again. One of the French impressionists had said that painting is very jealous. You must not deceive it. After that it is difficult to restore relations. He asked Painting for forgiveness for his infidelity and one might even say betrayal.
STATEMENT
The painting captures a moment that cannot be repeated. There is something melancholic, lively, and ephemeral at this moment. I think that makes the painting attractive. My works are figurative, portrait. The surrounding environment is given great importance - it can be an empty space or nature, an interior. This environment must help reflect the feelings of a person, which is the main thing - how he feels, what is the image, character, prototype of this person, like an actor who plays a role in the painting. You can't put just any person in one painting, this person must be able to bear the psychological burden of this character. I attach importance to a person's clothing, because it helps, just like the surroundings, to create an image, a style. I have always felt that my figurative works are quite active, energetically express a specific image, therefore more suitable for galleries, private collections. I also paint natural landscapes, flowers - because nature is full of charm, beauty - these paintings are calmer. I use oil paints for painting, its depth, glaze and pasty areas - applied in one layer, reliefs, textures. A painting is created over a long period of time. Painting is like a life path, like life itself. If someone tells me I don't understand art, what you do and why, then I think - do you understand life? An artist tries to create a miracle, maybe more for himself?
