Form and Structure

Playing with geometric shapes, lines, structures, planes, or optical illusions is a trend that has been prominently outlined in the environmental art and design throughout the decade of the festival. Authors’ artworks attract attention with artistically expressive vocabulary of forms – from openwork steel lattice structures, kaleidoscopic geometric experiments and planes of mirrors, to ascetic monumental concrete forms. Illuminated objects create both a subtle intimate festive ambiance, and a reflection of surprising fragments of the urban environment through mirror planes, while some works provoke the viewer’s senses with intellectually optical exercises.



Nauris Martinsons, in cooperation with the AAL

Disarray is both intriguing and provocative. At first glance it is hard to perceive it as a united work, yet, if one has patience to seek the right angle, the details come together forming a single silhouette of a fir tree. It is an optical and intellectual challenge to find the right viewing angle. Simultaneously, the object encourages us to think about chaos, the order of things, as well as our perception and attitude towards events around us.



Nauris Martinsons, in cooperation with the AAL, supported by SIA Ramkons

The restored Spīķeri (warehouse) Quarter with its historical 19th century brick buildings – Spīķeri – is a most fitting environment for the robust Industrialist. Sculptural, distinctly industrial forms of traditional concrete well rings interplay with colourful lights and the rough texture of concrete.



Diāna Janušone, in cooperation with the AAL

Fractal is a geometric figure that consists of many parts that are similar to the whole. Fractals can be said to have self-similarity. Such structures are found in clouds, trees. The illuminated object in the form of a stylised fir tree tells us that everything in nature is simultaneously simple and complex.



Karīna Sidorova, in cooperation with the AAL

By creating different interplays of light and geometric symmetry, the author invites us to examine the colours of the kaleidoscope and bring them more into everyday life, thus lighting up the grey and dark periods.



Lauris Vītoliņš, in cooperation with the AAL

The shape of the Christmas tree is constructed of small cubes and reminds us of the game tetris that many of us played as children. The joy of colourful lights, the festive season and playing games.



Ansis Dobičins

Historically, the knot is a powerful symbol in many cultures representing strength, love and the overcoming of difficulties. It has been used both for practical purposes, in language and ornaments, and even as a counting device. The composition of The Knot-Tree is made up of square threads. Their motifs intertwining, the author has created a dynamic sculptural form that transforms when viewed from different angles.



SIA Vasaris

Apples have long been used as Christmas tree decorations. This time apples make up this large format Visitor from the planet of apple trees which, with its rich shapes and juicy colours, creates a joyful festive atmosphere.



Atis Izands

Inspired by Art Nouveau motifs and stylistics, the author has created an Art Nouveau Christmas tree that invites us to embrace the Christmas spirit of the late 19th century. The environmental object features the magnificent Art Nouveau stained glass motifs, and its elegant lines and shapes.



Haralds Ceka, in collaboration with the AAL

At the heart of this environmental object is an architectural construction that creates a kind of optical illusion. The voluminous and simultaneously delicate structure creates transparency. During the day, the object resembles a blanket of snow, but when spotlights are turned on, the rhythm of the grid appears in a nuanced interplay of lights and shadow.



Inta Berga

Symmetrical small wooden board structures, arranged in an ascending spiral, form a certain rhythm and a structural shape. Colourful nuances of light reflecting in the snow create a quiet, meditative evening mood.



Gatis Erdmanis, in collaboration with the AAL

The author creates an association of the city centre as an active, dynamic and dense structure. Like the forest, the city centre grows in height and width, and it develops according to certain laws. The laconic form reminds us that all big things consist of small structures. Light stained wood speaks to us with its natural texture, materiality and warmth.



Guna Poga, in cooperation with the AAL

At first glance, this large construction looks like a pile of wooden planks, but on closer inspection, the shape of a fallen fir tree next to a tree stump appears. A robust image of a tree, constructed of untreated wooden planks. This environmental object reveals the natural textures of wood, but the scent of freshly sawn planks brings a subtle touch of nature into the urban setting.



Anita Robul, in collaboration with the AAL

The cone does not fall far from the fir! A clever play of forms where the cone, in a sense, reiterates the shape of the fir tree. The vertical body of the tree and its branches are made of log halves that are similar in shape to the scales of the cone.



Gatis Burvis

This environmental object is created from a tree uprooted by the wind, its branched root system stretching towards the sky, structurally intertwined and forming a new sculptural form. Four solid supports are made from one tree trunk. Roots are associatively linked to centuries-old history, reborn to continue in a new form.



AS Adam Bd subsidiary Adam Decolight Latvia

Mirrors as crystal formations pose the eternal questions about pictures and reflections. Historical facades of buildings, city lights, passers-by and the busy rhythm of the city are reflected in mirror planes positioned at different angles.



Dārta Gobiņa

Are things around us the way our eyes see them? Looking into one of the glittering facets of Mirror, Mirror… you can see the townscape of Riga differently. Mirrors are placed at different angles to project unusual urban fragments: roofs of buildings, facades, clouds. In the evening, illuminated facets of mirrors create an impression that the Christmas tree has disappeared in the dark.



Katrīna Strādere, in cooperation with the AAL

The author invites us to see and live the unknown, unseen, to surrender to our feelings and dreams. The Magic Tunnel is created of mirror planes as a three-dimensional structure that is integrated in the architectural environment (in the residential quarter between Tērbatas, Dzirnavu and Lāčplēša streets) and engages in an interplay with the facade of the building.



SIA First Service

The impossible triangle devised by Roger Penrose, a British mathematician and physicist, once proved that science and art are closely linked. The Penrose tribar (or Penrose triangle) has three bars, each appearing to be at right angles to the others. This figure violates the postulate of Euclidean geometry, where the sum of the inner angles of the triangle is 180°. The author invites the viewer on a journey of optical illusion.