latvian landscape painter Jūlijs Deders painting "In the fishermens nest" depicting a water canal with trees on the sides

Result #1

latvian landscape painter Jūlijs Deders painting "In the fishermens nest" depicting a water canal with trees on the sides, in the middle of which is a man, who looks at the viewer through a series of binoculars. The binoculars are the same ones the man is using in the painting, but he has painted them in an almost robotic manner. The viewer can only guess at the man's intentions. The painting is a comment on the viewer's own viewing habits. Here, the artist is commenting on the viewer's tendency to look at paintings as pictures and to thereby deny the artist's role in the process.The exhibition also included a number of drawings that were executed in a similar manner, with the exception that they were not hand-drawn. The show emphasized the body as a center of activity, as in a sculpture. The body is a fundamental part of the work of both Güreş and the artist's father, as it is in his mother's body.The central part of the show was the exhibition catalogue, which was divided into six sections. These sections were arranged according to the artists' fathers work in the 70s. The sections covered the same themes as the paintings, but in a more personal way, with the exception that Güreş's drawings were more serious, and the ones of the artist's mother were more sentimental. The show included a small number of the artists' family photographs, which the artist's father collected and displayed at the end of his career. The family photos were among the earliest images the artist had seen, in which he had tried to capture the essence of the world through drawings. The artist's mother's family photographs, which the artist's father collected and displayed at the end of his career, are the only ones in which the artist's father has shown any interest, and it is the only one that Güreş has shown interest in.

Result #2

latvian landscape painter Jūlijs Deders painting "In the fishermens nest" depicting a water canal with trees on the sides, and his own paintings, all about six feet wide and five feet high, of a sort of human-size clay. They were hung in a row, one behind the other, and looked like a series of abandoned boat ramp. The show was accompanied by a catalogue with photographs and a list of the exhibitions, with a few oddities (Nos. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, and 32) added as a kind of gloss. These are not the usual image-objects—the flat canvas, the rectangular canvas, the flat wall. These are the painted canvas, the painted wall, and the painted boat. They are not the usual objects for a medium that is neither color nor material, but they are not simply paint on canvas, nor are they simply paint on metal. The title of the show is a pun on the word painted. The paintings are not simply paintings on canvas. They are painted on canvas. And they are not merely paint on metal. They are paint on metal. The paintings are not simply painted on canvas. They are painted on canvas. And they are not merely paint on metal. The title of the show is a pun on the word painted. The paintings are not simply paintings on canvas. They are painted on canvas. And they are not merely paint on metal. The title of the show is a pun on the word painted. The paintings are not simply paintings on canvas. They are painted on canvas. And they are not merely paint on metal. The title of the show is a pun on the word painted. The paintings are not simply painted on canvas. They are painted on canvas. And they are not merely paint on metal.

Result #3

latvian landscape painter Jūlijs Deders painting "In the fishermens nest" depicting a water canal with trees on the sides. In the main room, one could see a large painting, which is made up of a series of elements, and in the back room, a video of a performance in which a young girl performs her own female impersonation. In the end, the paintings were mostly kept to the walls, and the video was projected on a screen directly above the paintings. The video, which was also shown in a nearby room, was a kind of introduction to the exhibition, in which the artist proposed a series of questions to the viewer: Where does one find the gender of the paintings? How do I find the paintings gender? How can I find the gender of the other paintings? How do I find the gender of the images in the paintings? How can I find the gender of the water in the paintings? And so on. The video, which was also shown in a separate room, is a study in how one identifies with others. It shows a girl, who looks a lot like the girl in the video, walking through a crowd of people, but in the video shes a bit too cute, her expression seeming more like that of a child than a young woman. The video ends with a girl reading a book. The paintings are shown with the girl reading, and the video is projected on the books back. The video also includes a discussion of identity in the form of a performance by a young woman who walks through a crowd of people, hides her face with her hand, and starts to speak.The artist also showed a series of drawings made with a text-based drawing tool called the scribble. The drawings are large, colorful, and often crudely drawn, and they look like fragments of words. The images are often in the same media as the paintings, but they are more abstract. The drawings are like illustrations of the paintings, in a sense. In this exhibition, the artist began with a series of paintings, and with the drawings as a starting point.

Result #4

latvian landscape painter Jūlijs Deders painting "In the fishermens nest" depicting a water canal with trees on the sides (from the series I have seen you all, 2014). The artist has painted the canal with a band of violet acrylics on the surface, and the canvas is covered with a layer of ink. The background is a black field with the word ill-fit stamped in black on the white paper. There are no people, only a band of violet acrylics, which is covered with the words I LOVE YOU. The black is thickly painted and covered with white enamel, and the paper is the only thing visible between the enamel and the paper. The black is filled with black enamel, and the ink is applied to the paper, which is covered with the same enamel, creating a sort of surface texture. A red plastic bag hangs from the wall, like a piece of string from a fish tank, and a metal rod rests on top of it. The rod is made of wood, and its surface is covered with ink, which is applied to the paper, creating a kind of ink-on-paper surface. The plastic bag is attached to the rod. The rod has a shape resembling a hand, but it is just a piece of wood, and the wooden form is covered with ink. The paper is covered with ink, and the water is drawn on the paper, which is made of paper and ink, and then covered with ink and paper. This is a simple, poetic gesture, but it is also a deadpan gesture, a gesture of life.In the series I have seen you all, 2013, the artist has painted a field of green on the wall with the words I LOVE YOU on it. He has painted the field with a red and white background of black and white. In the background, the words I LOVE YOU are painted in white on a black background. In the paintings, the words are painted in black and white, and the black and white background is filled with ink. The words are also painted in black and white.

Result #5

latvian landscape painter Jūlijs Deders painting "In the fishermens nest" depicting a water canal with trees on the sides, and a white-robed figure with a bandanna for a head, and the artist, his wife, and their son, who stands outside the building. The picture is full of puddles, and the puddles of the work of art are in turn absorbed into the puddles of the landscape. A little black painting on the gallery wall shows a small view through a window onto a street in the center of town, which is illuminated only by the streetlamps. The street is dark, and the windows are open only to the right. The canvas is dark too, but it is illuminated by a large beam of light. A couple of days later, it is a white-robed figure, and the same figure, but now with a white corset and a black bikini top. The black bikini top is what they are wearing in this picture, and the corset is what is holding them up. This is a fairly specific but a very moving image. The light of the white bikini is also reflected in the white corset, and the two cunts are also naked. This is not a traditional black woman or a white woman, but a black woman with a white corset and a white bikini top. The corset is a symbol of the male sexuality, and the black man is both black and white. The corset is a symbol of the powerlessness of the black male, and also of the black male sexuality. In this painting, the figure is naked, but only the penis is visible, and it is a symbol of the black male powerlessness. In this painting, the figure is also naked, but only the penis is visible, and the penis is also a symbol of the white male power. The penis is a symbol of the white male power, and is also a symbol of the white male sexuality. The penis is a symbol of the white male power, and is also a symbol of the penis.