The catalogue tells about artist Vija Zariņa herself (Anda Treija, “On Beauty as a Technique”; Ieva Rupenheite, “Looking at Vija Zariņa for a Long Time”) as well as giving impressions of her creativity over nearly three decades, from 1988 to the summer of 2017.
Paintings, drawings and artworks created in author’s technique are grouped into themes, whose names give a hint of explanation of the works. Vija Zariņa occasionally returns to beloved subjects, whether they be paintings on worn wooden surfaces which have seen much or richly structured still lifes with metaphysically positioned objects, which is why her creative activity is projected thematically rather than temporally.
“Long ago, Vija did a very small painting with a subject with which everyone is familiar – no, which everyone has experienced: a windowpane covered in raindrops, through which we see autumnal trees, a ploughed field, perhaps even a meadow with auburn grass, grey clumps of bushes, and beyond the edge of a forest. A little sad… Everything is wrapped in fog and cool moistness. Looking at it for a while, you even start smelling the earth and fallen leaves – the scent of autumn. The twilight and its secret embrace one as in James Abbott McNeill Whistler’s “Nocturnes”. For example, “Nocturne in Blue and Silver: The Lagoon, Venice”, or “Nocturne: Blue and Gold – Old Battersea Bridge”. I like to mention all three of the artist’s given names before Whistler –
the painter with his aesthetic conviction that artistic sensitivity is the only thing to be taken seriously. This always fascinates in art and is hard to resist. Should one?… The fact is that not every painter has it. Sensitivity is what attracts me to many of Vija Zariņa’s paintings, and it may be that it is exactly what I am seeking there,” writes Anda Treija.