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gundega strautmane

visual poetry

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text coding* haptic poetry SINCE 2004 ARTIST HAS BEEN WORKING WITH BRAILLE CODE OR "BRAILLE LACES".

IN HER LATEST ART PROJECTS, STRAUMANE HAS EMPLOYED THE BRAILLE CODE IN ORDER TO CREATE ARTIFACTS PERCEPTIBLE TO BOTH THE BLIND AND PEOPLE WITH EYESIGHT. BY DRAWING A THIN THREAD BETWEEN THE BLACK RELIEF POINTS IN THE WHITE PAPER LANDSCAPE, SHE CONSTRUCTS NEW MEANINGS AND HER TEXTILE COMPOSITIONS BECOME TEXTS WHERE ORNAMENT IS A CARRIER OF CODED INFORMATION. SHE HAS CREATED LACE-LIKE ORNAMENTS USING PHRASES FROM CATHOLIC PRAYERS…” ANDA KLAVINA, ART CRITIC AND CURATOR “…EVEN THOUGH GUNDEGA STRAUTMANE’S WORKS CAN BE CONSIDERED AS “THE MODERNIZATION OF TRADITION”, THEIR ORNAMENTAL PATTERNS ARE DISTINCTIVE AND SIGNIFICANTLY DIFFERENT FROM THE TRADITIONAL FORM. THE ARTIST HAS USED BRAILLE CHARACTERS TO TRANSCRIBE PHRASES FROM CHRISTIAN PRAYERS, WRITING THEM OUT IN RAISED, TACTILE BEADS. THESE SETS OF BEAD CHARACTERS ARE ARRANGED IN A SYMMETRICAL RHYTHM, BOTH SPELLING OUT THE TEXT OF THE PRAYER AND CREATING AN IMPRESSIVE, DECORATIVE PATTERN. AS A RESULT, THE WORKS ARE AN ILLUSTRATION OF A CLASSIC CONCEPTUALIST PATH, WITH AN UNEXPECTED TWIST: THE TEXT IS FIRST OF ALL MADE INTO A THREE-DIMENSIONAL PHYSICAL STRUCTURE. IT MAY BE READ AND ITS CONTENT PERCEIVED ONLY THROUGH TOUCH; REPETITIONS AND THE ORNAMENTAL ARRANGEMENT OF SETS OF REPETITIONS PROVIDE NOT JUST A LITERARY EXPERIENCE, BUT A SENSUALLY AESTHETIC ONE AS WELL…” ILIANA VEINBERGA, ART CRITIC

gundega strautmane

EXIBITION IN ART ACADAMY OF LATVIA, RIGA, LATVIA, 2016 *ALTHOUGH TEXT CODING IS OFTEN ASSOCIATED WITH COMPUTER PROGRAMMING LANGUAGES, ARTIST GUNDEGA STRAUTMANE SINCE 2012 HAS BEEN INVENTING TEXT CODES (SIMILAR TO MORSE OR BRAILLE CODES) IN ORDER TO TRANSCRIBE DIFFERENT TEXTS.

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text coding* haptic poetry

EXIBITION IN MARK ROTHKO ART CENTRE, DAUGAVPILS, LATVIA, 2017

gundega strautmane

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MATER DEI ORA PRO NOBIS "MOTHER OF GOD PRAY FOR US" FROM BRAILLE SERIES, PINS, THREAD, EACH OF EIGHT: 19 11/16 X 19 11/16IN. (50 X 50CM),

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MATER DEI ORA PRO NOBIS "MOTHER OF GOD PRAY FOR US" FROM BRAILLE SERIES, PINS, THREAD, EACH OF EIGHT: 19 11/16 X 19 11/16IN. (50 X 50CM),

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LIBERA NOS A MALO "DELIVER US FROM EVEL" FROM BRAILLE SERIES, PINS, THREAD, EACH OF EIGHT: 19 11/16 X 19 11/16IN. (50 X 50CM),

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TECHNIQUE : AUTHOR TECHNIQUE

text coding enamtuarts agednug

ALTHOUGH TEXT CODING IS OFTEN ASSOCIATED WITH COMPUTER PROGRAMMING LANGUAGES, ARTIST GUNDEGA STRAUTMANE SINCE 2012 HAS BEEN INVENTING TEXT CODES (SIMILAR TO MORSE OR BRAILLE CODES) IN ORDER TO TRANSCRIBE DIFFERENT TEXTS. HER A-KODS, B-KODS AND C-KODS WAS INSPIRED BY BRAIILE ALPHABET FOR LATVIAN KEYBOARD.

DUBLIN3 , DUBLIN 3 CODES WAS INPIRED BY IRISH OGHAM SCRIPT (CREATED DURING HER ARTIST RESIDENCY IN SOUTH DUBLIN ART CENTRE "RUARED" IN 2017).

IN DUBLIN GUNDEGA STRAUTMANE HAS BEEN WORKING WITH DUBLIN2 AND DUBLIN3 CODES FOR ENLISH \ IRISH KEYBOARD.

gundega strautmane

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DUBLIN2 AND DUBLIN 3 CODES

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TECHNIQUE : LASER CUT, MATERIAL: PAPER DUBLIN 2 CODE GEORGE BERNARD SHOW

40 eussI

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TECHNIQUE : LASER CUT, MATERIAL: PAPER DUBLIN 2 CODE POEM BY TOMAS MOORE

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TECHNIQUE : LASER CUT, MATERIAL: PAPER DUBLIN 2 CODE POEM BY OSCAR WILDE

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TECHNIQUE : LASER CUT, MATERIAL: PAPER DUBLIN 2 CODE POEM BY OSCAR WILDE

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8102 TSUGUA

TECHNIQUE : LASER CUT, PVC MARANATA DUBLIN2 CODE

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8102 TSUGUA

TECHNIQUE : LASER CUT, PVC MARANATA DUBLIN2 CODE

text coding enamtuarts agednug

ALTHOUGH TEXT CODING IS OFTEN ASSOCIATED WITH COMPUTER PROGRAMMING LANGUAGES, ARTIST GUNDEGA STRAUTMANE SINCE 2012 HAS BEEN INVENTING TEXT CODES (SIMILAR TO MORSE OR BRAILLE CODES) IN ORDER TO TRANSCRIBE DIFFERENT TEXTS IN HER ARTWORKS. HER A-KODS, B-KODS AND C-KODS WAS INSPIRED BY BRAIILE ALPHABET FOR LATVIAN KEYBOARD.

gundega strautmane

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TECHNIQUE : AUTHOR TECHNIQUE, MATERIALS: WOODEN FRAME, POLYESTER YARNS, PLASTIC SIZE: 50CM X 50CM

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TECHNIQUE : AUTHOR TECHNIQUE, MATERIALS: WOODEN FRAME, POLYESTER YARNS, PLASTIC SIZE: 50CM X 50CM

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TECHNIQUE : AUTHOR TECHNIQUE, MATERIALS: WOODEN FRAME, PAPER SIZE: 50CM X 50CM A_KODS GLORIA IN EXCELSIS DEO

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TECHNIQUE : AUTHOR TECHNIQUE, MATERIALS: WOODEN FRAME, PAPER SIZE: 50CM X 50CM C-CODE, B_CODE GOD IS LIGHT

sounds of the Rēzekne city

snoitasilausiv dnuos

gundega strautmane

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DURING PROJECT "SOUNDS OF RĒZEKNE" ARTIST RECORD DIFFERENT SOUNDS IN RĒZEKNE CITY AND PRINTED SOUNDTRACKS ON PAPER USING SILKSCREEN TECHNIQUE.

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TECHNIQUE : SILK SCREEN, MATERIALS: PAPER, SILK SCREEN PASTE SIZE: 120 CM X 70CM

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TECHNIQUE : SILK SCREEN, MATERIALS: PAPER, SILK SCREEN PASTE SIZE: 120 CM X 70CM

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TECHNIQUE : SILK SCREEN, MATERIALS: PAPER, SILK SCREEN PASTE SIZE: 120 CM X 70CM

social network maps enamtuarts agednug

TEXTILE ART BASED ON THE NETWORK MAPS OF VALDIS KREBS*.

gundega strautmane

Social network map by Valdis Krebs "ego network- Twitter" *Valdis Krebs is an American-Latvian researcher, author, and consultant in the field of social and organizational network analysis. He is the founder and chief scientist of OrgNet, LLC, and the creator of InFlow software, which Wired Magazine called one of the most advanced tools for analyzing and visualizing networks.Popular Science has described Krebs as a "leading expert" and a "pioneer" of network analysis, while Military.com's DefenseTech blog has called him a leading authority in the field. (wikipedia)

tra citpah

GUNDEGA STRAUTMANE VISUALIZES SOCIAL AND PHYSICAL NETWORKS IN A SHOW CALLED RELATIONAL ORNAMENTS. THE NETWORKS ARE CREATED USING VARIOUS SIZED PINS TO DEPICT NODES AND THREADS CONNECTING THEM TO SHOW RELATIONSHIPS. BRINGING VISUALIZATION INTO THE TACTILE WORLD LENDS IT A WEIGHT NOT ABLE TO BE ACHIEVED ON A COMPUTER SCREEN. IT ALLOWS THE VIEWER TO PAUSE, SPEND TIME WITH THE INFORMATION, FEEL IT, SENSE IT IN A MORE HOLISTIC WAY.

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TECHNIQUE : SILK SCREEN, MATERIALS: PAPER, SILK SCREEN PASTE SIZE: 120 CM X 70CM

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EXIBITION RELATIONAL ORNAMENTS IN EUROPE HOUSE, RIGA, LATVIA

TEXTILE ARTIST GUNDEGA STRAUTMANE (1978) WORKED WITH VALDIS KREBS (LATVIA, USA), AN EMPLOYEE OF THE SYSTEM MODELING LABORATORY IN THE INSTITUTE OF MATHEMATICS AND COMPUTER SCIENCE, UNIVERSITY OF LATVIA. THEY USED THE BRAILLE SYSTEM IN ORDER TO TRANSFORM VARIOUS DATA VISUALISATIONS MADE BY VALDIS KREBS INTO TACTILE COMPOSITIONS. HERE THE USE OF TECHNOLOGY AND ARTIST-SCIENTIST COLLABORATION RESULTED IN A COMPLEX VISUAL OBJECT WITH TRADITIONAL AESTHETIC VALUES, WHICH, MOREOVER, IS CREATED FOR AN EXTENDED AUDIENCE – PARTIALLY SIGHTED PEOPLE.

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THE VISUAL LANGUAGE OF CONTEMPORARY DIGITAL ART AND ITS COLLABORATIVE ASPECTS ON SCIENCE SOLVITA ZARIŅA

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PROJECT DISCUSSION IN CONTEMPORARY ART CENTRE OFFICE GALLERY

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VISUALLY IMPAIRED STUDENT DURNG ARTWORK TEST

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