Vineta Gailite

 Darba terapija (work therapy)

LV: Mēnesis mājsēdes jeb paš-izolācija, kas sakrita ar rudens mākslas residenci Ruckā, man izvērtās par darba terapiju: praktisku meditāciju un pārdomām par dzīvo un nedzīvo dabu. Lai neieslīgu izmisumā ar domām par pandēmiju (jeb pastardienu, manā iztēlē) es pavadīju laiku aužot gobelēnus no dabīgiem materiāliem. Materiālus sakrāju vasaras ceļojumu laikā: kaņepju škiedra no Obelisk farm, Viļānos, kur pavadīju laiku mācoties visu par Cannabis sativa augu; un vilna no Hiiumaa salas Igaunijā, kur padzīvojos saimniecībā, kur audzē aitas vilnai. Mēnesis Ruckā pagāja pārdomās par to kā, kaut kas audzēts un lolots, dzīvs, elpojošs, šajā gadījumā kaņepe, parvēršas no ‘dzīvās dabas’ par škiedru, materiālu, kas turpina savu pastāvēšanu kā ‘nedzīvā daba’ un kā cilvēks var to pārvērst par audeklu. Tāpat arī ar vilnu... 

Koks pārvēršas par koksni, ko es šeit lietoju veidojot mazus jurtu modelīšus: mēģināju praktiski izprast ģeometriju un fizikas likumus, lai pati varētu celt pati savas mājiņas. Vairākus gadus Anglijā šuvu jurtu pārsegus un strādaju kopā ar koka karkasa meistaru, kas tagad jau ir pensionārs un man nekas cits neatliek kā iemācīties kā tās pašai taisīt! Gribētu izzināt visu sākot no koksnes audzēšnas, apstrādes, konstrukcijas un pat līdz pašu pārsegu aušnai.

Koks, ko vēlos izmantot ir lazda, vai vītoli. Kaut arī koki mums ir jāsaudzē, tomēr daži aug daudz labāk, ja tiek regulāri cirsti, piemēram lazdu saknes kļūst tiprākas un var izdzīvot līdz pat tūkstoš gadiem, ja zari tiek nogriezti līdz pat zemei atstājot tikai nelielus celmiņus. Jaunaudzē, tie aug taisni, tiecoties pēc saules: perfecti, lai tos izmantotu jurtai. Taisot mazos jurtu modelīšus, es izmantoju divgadīgas šketras, to augšna arī tiek stimulēta ar regulāru ciršanu,  ievāktas grāvmalā, mizotas un sasietas kopā tā, lai izveidotu skeletu mājiņai. Jumta konstrukcijai izmantoju sev jaunatklātu principu, kad katrs koks atbalsta nākamo pa apli.

ENG: Month long art residency at Rucka Cesis in Latvia. It coincided with a lockdown of the whole country and I was trapped in a building which used to be a tuberculosis hospital, where people had to quarantine away from others, it was certainly a strange feeling to be healthy and in quarantine but that has not been novel for me last passed 2 years. Self-isolations and spending time far from urban life, which I was accustomed to when living in a big city: Manchester. Also coming to terms with the notion that “artist” is quite a useless profession in the face of catastrophe, getting used to claustrophobia of lockdown again and a bit less freedom of expression. Kinda that nothing really matters and everything is temporary so I can have a little play away from the world in a small temporary universe of residency.

And mainly accepting that whatever I make will not be seen by the public or exhibited. What freedoms does it give me?

I found a room in the building with a sign “darba terapija” (work therapy) used to mark a space for physical activities for patients. I weaved for hours and days listening to talks about farming, mental health and the current state of social development. “Work therapy is a fruitful means of recovery for people dealing with difficult situations such as addiction. By helping you gain valuable life skills and setting objectives to focus on, the road to rehabilitation is smoother and with increased chances of success. Furthermore, engaging in productive activities keeps you occupied enough to avoid an otherwise impending relapse.”(benefits of work therapy for addicts). I treated it as such because with current situations showing that individual freedoms are limited in terms of how one might want to earn t’s living, I must admit I felt myself slipping into panic and seeing into the abyss of mass poverty and what comes with it.

There is one certainty which kept me away from slipping into desperation: my family owns land and I know how to live off land. But there is sadness that millions don’t have the same peace of mind. Many in our modern culture are detached from nature: the environment around us and one’s own body that independence and confidence is lost, when fear guides one’s decisions it’s very hard to be trusted and trust. 

At the start of residency I did let my mind wonder into darkness ponder aimlessly over doomsday predictions.

I followed principles learned from Permaculture to structure my work at the residency and not slip into meaninglessness. Action itself becomes meaning.

Observe and interact: 

I observed natural textures I have around me. Exposed wood at Rucka building. Collected fibres: hemp at Obelisk farm and wool from Merike’s sheep farm. Linen fabrics from my grandmothers’ dowry. This residency become a the end of the Spring/Summer season reflection on journeys I managed to do through through Latvia and Estonia, realising that my main focus of attention always lies in human direct interaction with nature which is simply known as farming. Landscapes are shaped by this human action. I dreamed of growing my own textiles on day in the way it benefits me and environment at the same time there for I went todo couple apprenticeships at farms to learn.

Interacting manifested itself as weaving. Making two tapestries from materials collected over summer: hemp at hemp farm and wool at time spend in Hiiumaa island helping out with at farm which raise sheep for wool. Weaving become meditation. In Latvian language there is a opposing notion of an alive nature “Dzīvā daba” and non-living nature “Nedzīvā daba”, for example animal vs rock. And as I was weaving I realised I am meddling with non-living nature “ar Nedzīvo dabu”; fibres which once was a a living breathing nature “Dzīvā daba”: a hemp plant! Realisation that I am working in the circular system: turning a living nature into a nonliving but with purpose and awareness of significance of every detail in process (where it came from, where it was grown and how) made me content and grounded with simple action of weaving.

Tapestry was meant to be as portrait on an oak outside my window. Mighty tree, burned on one side, damaged by fire, I noticed it on a bright full moon’s night and took inspiration for colours on the tapestry I was making.

And then I indulged in process of making small yurt model with reciprocal (self-supporting beam) roof. I wanted to understand geometry and physics of this type of structure: when each beam lays on next one in the circle supporting one other. There calculations I have started in spring at the art residency in Estonia, because I wanted to be able to make my own yurts independently: I have been working as seamstress for yurt maker for years in England but after his retirement I would like to continue this trade but I am not woodworker so I need to learn it all from scratch.

While working with the sticks I listened to an audiobook “The Hidden Life of Trees: What They Feel, How They Communicate” by Peter Wohlleben to understand tree there for to share some respect towards this alive entity which I did turned into non-living nature “Nedzīvā daba” (koks - koksne) for my personal entertainment. But I have a great excuse because cutting down certain trees (like willow and hazel I used in this instance) encourages it’s growth: know from ancient times as coppicing (hazel roots can life for up to thousand years if coppiced vs only 80 if never cut)
I coppiced some 2 year old willow branches and took bark off. Very often in Latvia these bushes are cut down regularly but wood is rarely used sometimes it gets burned on the spot, it does not make any sense as it is burned just to get rid of it without consideration for other uses.

Rucka park and building became important inspiration, environment which set the mood for work or the opposite:

At the end I set up an installation near the art residency to show my work to people who might wonder around the park and see my work by chance, as lockdown was in place in Latvia at the time I could not invite anyone to see it officially to avoid gatherings. It was kinda different experience of setting up and exhibition, maybe more peaceful, and different to many other exhibitions i have done where I had to speak about my work this is just left in the intimacy between spectator, art-work and a short text about it.