{"id":63957,"date":"2025-10-23T08:26:11","date_gmt":"2025-10-23T08:26:11","guid":{"rendered":"https:\/\/rothkomuseum.com\/?p=63957"},"modified":"2025-10-23T08:26:11","modified_gmt":"2025-10-23T08:26:11","slug":"conflicted-in-pastels-the-night-before-by-sandra-strele","status":"publish","type":"post","link":"https:\/\/rothkomuseum.com\/en\/conflicted-in-pastels-the-night-before-by-sandra-strele\/","title":{"rendered":"Conflicted in Pastels. &#8220;The Night Before&#8221; by Sandra Str\u0113le"},"content":{"rendered":"<p><strong>This autumn at the Rothko Museum, Sandra Str\u0113le (Latvia) presents her solo exhibition \u201cThe Night Before\u201d. The show explores the ebb and flow of life, where water becomes both witness and agent, preserving, transforming, and revealing connections between the personal and the ecological. Below is a reprint of the exhibition&#8217;s catalogue essay by Rasa Jansone, Art. D., who analyses Str\u0113le&#8217;s show in terms of conflict unfolding in three directions.<\/strong><\/p>\n<p><!--more--><\/p>\n<p>Large-scale painting sets in motion a complex web of relationships \u2013 not only with the space in which the work is created, but also with the very different space where it is exhibited and encountered by the viewer. Inevitably, such painting invites conflict, beginning with scale itself. Standing face to face with these works, the viewer is physically confronted with the fact that they cannot be grasped \u201cin a single breath\u201d. To take them in requires at once a loosening and a focusing of different muscle groups and mental points to reconcile one\u2019s own scale with that of the painted world. Yet problems of scale are only a starting point. Within the context of contemporary Latvian art, Sandra Str\u0113le\u2019s painting engages in conflict in at least three directions:<\/p>\n<ul>\n<li>conflict with the exhibition space,<\/li>\n<li>conflict with the artist\u2019s self-image,<\/li>\n<li>conflict expressed through Str\u0113le\u2019s distinctive pastel palette.<\/li>\n<\/ul>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>Conflicted Space<\/strong><\/p>\n<p>Sandra Str\u0113le has long worked in large formats. This is particularly striking given the chronic shortage of studio space that dogs Latvian artists. Yet she has painted for years as if this lack of space did not apply to her; as if her canvases were conceived and realised in other, less austere circumstances, where one isn\u2019t limited to thinking in survival mode but can breathe deeply and, with imagination, lift the ceiling or push a wall back by twenty centimetres. However, when a large-format painting, created in such imaginatively expanded space, enters the exhibition hall, its spatial logic shifts \u2013 for the exhibition space is never the same as the space of creation. The word \u201cconflict\u201d already suggests the potential for new relations: something unsettled, then reconfigured in a different sequence. \u201cThe Night Before\u201d, Str\u0113le\u2019s solo exhibition at the Rothko Museum, unfolds in the institution\u2019s second-floor gallery space, where, acting as her own scenographer and curator, she has removed the usual modular coverings and stripped the fortress walls bare. Her monumental canvases, such as \u201cBleeding Medusa\u201d and \u201cTo the Goldfish That\u2019s Always There,\u201d rise to more than four metres and are displayed at a tilt, like a frozen wave looming above the viewer. This unconventional arrangement is at least in part dictated by the Rothko Museum\u2019s ceilings, yet rather than restraining Str\u0113le, the architecture has prompted her to devise ways of folding the paintings fluidly into the space. The conventional order of \u201cpainting on the wall\u201d is further disturbed by small installations: the objects have first been painted on canvas and only afterwards carried into the space as if by an invisible wave or current, escaping beyond the frame.<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>Conflict with the Artist\u2019s Self-Image<\/strong><\/p>\n<p>For those familiar with Str\u0113le\u2019s art, water has long been a central element. Until recently, it appeared as constrained, humanly tamed \u2013 most often as a smooth, silent pool. Even when overgrown in a distinctly Latvian thicket of brambles, its mirror surface was left unbroken, unruffled by so much as a stray leaf. The lack of human figures in the painted scenes did not mean the absence of a human presence \u2013 one could imagine a watchful figure just beyond the frame, carefully tending the pool.<\/p>\n<p>The first disturbances in this mirror were visible with the onset of the war in Ukraine nearly four years ago, when the pool turned a vivid red. Yet \u201cThe Night Before\u201d brings a new turbulence, not only through the scale of its display. This time, the smooth surface is shattered by explosions of energy (Tsunami, 2025; Kick, 2025; Eruption, 2025). The water is no longer flawless (Leafcatchers, 2025). In another canvas, a garden gnome tries to conjure his goldfish from the pool\u2019s depths, while a medusa drifts in a pool of blood. Would it sting if one drew too close? The solitary light in the opposite house\u2019s window stings like the medusa \u2013 at once a promise and a rebuff. Will the door open after a knock? Or will there only be a quiet but definite refusal?<\/p>\n<p>What has unsettled the once-still pool? In Str\u0113le\u2019s art, water has crossed its boundaries, swelling many times over. Returning home from the maternity ward with her daughter, Selma, Str\u0113le resumed painting on the third day. Motherhood cannot be \u201cset aside\u201d from daily artistic practice; it floods and overtakes everything. Immersion in this new reality, this new routine, produces a shift in the atmosphere, and that shift, in turn, generates waves in the water. One cannot help but become water oneself \u2013 to resist would mean suffering seasickness every day. Yet motherhood embodies both the surge of a tsunami and the reshaped self-image of a hesitant, uncertain mother. Even if you are the mother of the Buddha (who appeared to his mother in a dream as an elephant), there are days when the mother faces herself and the world as a tiny plush toy (Mother to Elephants, 2025).<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>Pastel Conflicts<\/strong><\/p>\n<p>One of the guiding lights in the sea of contemporary art history is the recognition that socially engaged art, responding to the world\u2019s injustices and hidden power structures, must be ugly. It rejects aesthetics to focus wholly on the ethical: it does not seek to please, soothe, or stand as a self-sufficiently pretty object above a collector\u2019s mantelpiece. Anything deemed too beautiful, unless quoted deliberately, is already suspect.<\/p>\n<p>In the late 1990s and early 2000s, Latvian painting was mired in decorative despair, as many artists long protected by Soviet-era institutional acquisitions never managed to adapt to the changed reality. Painting became unmoored, free to indulge in glossy female nudes, florals, gilded frames and gleaming lacquered surfaces. As a reaction to this emptiness, the \u201cnew simplicity\u201d of Andris Egl\u012btis and Daiga Kr\u016bze (in its Expressionist branch) re-established painting\u2019s meaningful connection with everyday life and with attentive observation of nature.<\/p>\n<p>But today\u2019s younger painters are following another path. They are actively engaged with the art market, forming close ties with their own generation of gallerists in Latvia and abroad. Str\u0113le works successfully with The Rooster Gallery in Vilnius, Lithuania. What matters now is that the question of radical form has re-emerged, with decorativeness itself as one of its modes. Many younger painters work as though the traumatisms of daily life, coloured by Latvia\u2019s Soviet and post-Soviet history, were the burden of a middle generation \u2013 artists such as Ieva Epnere and Kristaps Epners, Ingr\u012bda Pi\u010duk\u0101ne, and Kri\u0161s Salmanis. And perhaps they are right? Perhaps our most visible social scars have slowly healed?<\/p>\n<p>I do not believe so. The Latvian art world today is the child of an online age \u2013 a world no more healed or wholesome than it was ten or fifteen years ago; indeed, one far more openly violent, brimming with misogynistic cynicism. Latvian artists search desperately for their reflection in the distorting mirrors of social media, consoling themselves with a survival-driven self-deception that everything will be fine. If Latvia has no national museum of contemporary art, then so be it. We will do the work ourselves \u2013 through active galleries, through self-organisation, through integration with the wider world. And above all, we will rediscover the mysterious beauty of the world, which every generation of artists must interpret anew.<\/p>\n<p>Str\u0113le\u2019s pastel-coloured surfaces, however, suggest something different. They undeniably strive to reveal the secret of beauty, yet refined decorativeness can only flourish when anchored in the awkward notations of daily life. Motherhood here is bramble-covered, tide-ridden, poised on an unstable plank beside a garden gnome. \u201cPerhaps the pink is blood \u2013 only diluted,\u201d the artist remarks.<\/p>\n<p>\u201cThe Night Before\u201d is a courteous and gentle phrase.<\/p>\n<p>Yet it also heralds something approaching \u2013 a temporary state, unstable, uncertain, in-between. The liminal moment before something else, the instant before stepping from the plank. And down there, in the depths, lie not only harmless autumn leaves, but also medusa.<\/p>\n<p style=\"text-align: right;\">Rasa Jansone, Art.D<\/p>\n<p><em>The exhibition is on view until 23 November 2025.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>This autumn at the Rothko Museum, Sandra Str\u0113le (Latvia) presents her solo exhibition \u201cThe Night Before\u201d. The show explores the ebb and flow of life, where water becomes both witness and agent, preserving, transforming, and revealing connections between the personal and the ecological. Below is a reprint of the exhibition&#8217;s catalogue essay by Rasa Jansone, &hellip; <a href=\"https:\/\/rothkomuseum.com\/en\/conflicted-in-pastels-the-night-before-by-sandra-strele\/\" class=\"more-link\"><\/a><\/p>\n","protected":false},"author":11,"featured_media":63956,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-63957","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.0 (Yoast SEO v28.7) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>Conflicted in Pastels. &quot;The Night Before&quot; by Sandra Str\u0113le -<\/title>\n<meta name=\"description\" content=\"\u201cThe Night Before\u201d is a courteous and gentle phrase. 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