Over the years, we have covered several exciting shows across the globe by Maxim Boxer Gallery, and this one is no exception. While it takes place in Latvia (and if you are there is a must to visit), the subject of the show is one we think many will relate to right now. So, let’s delve into what the artists say about their work:

“MishMash is not only a coincidental combination of our names Misha and Masha, but also a one-word explanation of what we dedicate our artistic practice to. Subjects of our art are chaos and order, collections of unimportant things, transferring of data into abstraction, inventArt, forest actionism, prosthesis of reality, compulsive counting and observation. The wars, violence, discrimination, hate – are always here. So we do not portray day to day events in our art, we are trying to address the core of human nature.

Stones are used to heal Stones are deliberately swallowed. Stones give great stability. Stones of certain sizes and shapes are carried under the armpits. Stones are manhandled. Stones are heated. Stones are support. Stones are gathered Stones are scattered Stones are used to count Stones are used to decorate

Everyone uses stones: fish, birds, animals, insects and us.

A special mention should be made of the fact that stones are usually very beautiful. Especially beautiful are polished stones – those polished by sea or river water, but also polished by human being. A stone is a subtracted part of matter that has no crust, no skin, no covering. On a polished surface we always see a cross-section of the rock. And that slice is always beautiful – there is some condition of our perception of reality that we know little about.

Akmensrockstein is both a rock and an artist who makes rocks.

Series presented within the show include:

COUNTING DOWN TIME WITH STONES

90 stones, pannel on paper – authorized days of being in the EU. Another 90 stones without background are the suspended days of waiting for a visa. Each is stamped with a date. The last stone is on canvas.

ROCK

A series created in forced separation – Misha found a stone on the shore of the Pacific Ocean, gave it a name and described it in words, Masha drew a portrait of the stone based on this textual description.

STEIN The installation of a world order.

DEEP REST

While working on the series, I was inspired by the idea of expressing the state of pressure with the help of a road roller. These were necessary measures in order to let go of accumulated existential concerns. The paver served as a printing press and became a metaphor for liberation. And the visual narrative was relegated to the background, leaving imprints of this performative process.

 

Gradually dissolving the objectivity, I used more abstract interpretation. Wanting to take some form, barely noticeable, plastic lines fill the gaps between the torn prints on the surface of the sheet. I was happy to allow this brutal printing process to leave pressure marks on the fragile paper, a surface that I usually treasure and try to keep clean.

 

The paver has two shafts, the meeting of which divides the pattern, creating a feeling of multiplication and thickness. This effect, combined with the refractive properties of the metallic paint, reminds me of the theme of duality and uncertainty that is important to me.”

On thermal etching – observations and techniques:

“I have tried many printmaking techniques from etching to lithography. During the learning process, I discovered a printing method that amazed me with its energetic double line, plasticity, ease and speed of execution. Unlike the complex and sacrificial processes of working with other techniques, thermal engraving is very simple and reminds me of one of my first creative experiences, when as a child I burnt a large figurine of a Tusken Rider from the Star Wars universe that my mother gave me.

Thermography is performed on plastic using temperature melting. The image application process is well controlled and reproducible. Thanks to its specificity, each touch remains unique, and the integrity of the sheet remains unchanged. There is a displacement of the plane, rather than the removal of elements, such as in linocut. Mostly I type using the letterpress method, but I’ve tried a range of techniques including intaglio.

Also, I like to use open fire, in this case, the result depends on the density of the plastic or its porosity. Sometimes I burn over the lines, which allows me to expand the space between them. If you do this after applying paint to the board, it disappears and often changes colour, except in places where it is in recesses. The effect resembles the texture of baked ceramics.

As tools, I use different heating elements, such as: a thermal spatula, a soldering iron, a soldering blow dryer, and thermal tweezers.

The composition of modern plastics and the temperature control of the tool make it possible to apply a design without causing the material to burn. Such plastic in the form of sheets is most often used in inkjet and digital printing. The sheet size is from 0.15 to 0.7 mm thick.

One matrix allows you to create a circulation of about 15 prints; subsequent ones become distorted. With each print, the line loses its relief under the pressure of the shaft.”

The show is on for an entire month, so if you have time to pop over to Latvia, tag us and Maxim Boxer Gallery when you visit. But if not, keep an eye on our socials as we will be posting more behind the scenes and opening photos.