Critique by Kurt Beers

Agnese Kurzemniece | 17th March 2026

When I look at your work, I am immediately struck by the intensity and presence of your portraits. There is a strong psychological charge within each figure, and I feel a clear sense that these are not simply representations of individuals, but constructed images that sit somewhere between observation, distortion, and interpretation. Your academic background in Art History and Theory is very evident, particularly in the way you engage with painterly traditions while reworking them through your own visual language.

I can see subtle references to historical figures such as Modigliani, especially in the elongation of the neck and the stylization of form. At the same time, there are moments that recall the raw physicality and confrontation present in Jenny Saville’s work, particularly in the way flesh is treated, not idealized, but emphasized, stretched, and sometimes unsettled. What I find most compelling is how you balance these references without becoming overly dependent on them. The work feels informed, but still distinctly your own.

Your portraits are particularly striking in their handling of the human face and body. In some works, the figures appear composed and almost classical, while in others, they become fragmented, exaggerated, or distorted. The older faces, in particular, feel incredibly powerful. The way you render wrinkles, tension, and expression creates a sense of lived experience that is both intimate and confronting. There is an honesty in these works that I find very engaging.

I am also interested in how you use subtle distortions to disrupt the viewer’s expectations. The elongation of the neck, the shifting proportions, and the slightly surreal qualities of the figures create a tension between familiarity and unease. This aligns strongly with your interest in reinterpreting myths and exploring the changing nature of womanhood. The figures feel like they exist between archetype and individual, which opens up space for multiple readings.

Your use of colour is also effective. There is a strong contrast between the more muted, atmospheric backgrounds and the more saturated, expressive tones within the skin. In some works, particularly the more distorted portraits, the colour becomes almost visceral, reinforcing the physicality of the body and adding to the emotional intensity.

One of your main strengths is your ability to create impactful and memorable portraits. The figures have a strong presence, and there is a clear confidence in your handling of form and paint. Your work demonstrates a solid understanding of both historical and contemporary painting, which adds depth to your practice.

I also think your exploration of womanhood is very compelling. Rather than presenting a fixed idea, you approach it as something fluid and changing, which gives the work conceptual strength. The combination of distortion and realism allows you to explore this theme in a nuanced way.
Another strength is your willingness to experiment technically. It is clear that you are using painting as a space for investigation, and this openness is important in continuing to develop your visual language.

At times, I feel that the backgrounds could be pushed further. While the simplicity of the backgrounds helps to focus attention on the figures, there is potential to explore how these spaces could contribute more actively to the work conceptually. Introducing more variation or subtle complexity in the backgrounds might strengthen the relationship between figure and environment.

In some of the more resolved portraits, there is a slight sense of predictability in the composition. It could be interesting to experiment with more unconventional cropping, viewpoints, or compositions to introduce greater tension and unpredictability.

There is also an opportunity to push the conceptual side of your work further. While the themes are strong, I think there is potential to make the relationship between myth, symbolism, and the figure even more pronounced or layered within the image itself.

It is great to see that you are actively exhibiting in Latvia and beginning to expand your practice internationally. This is a very positive step, and I would encourage you to continue pursuing opportunities beyond your immediate context.

One key area for development would be establishing a dedicated website. While your use of social media is strong and engaging, particularly with the inclusion of studio images, a website would provide a more structured and professional platform to present your work, especially when approaching galleries or curators. Your use of Instagram is already effective, and continuing to share process-based content is valuable. It gives insight into your practice and helps to build a connection with your audience.

Overall, I find your work very striking and full of potential. You have a strong technical foundation and a clear conceptual direction, and it feels like your practice is at a point where it can begin to expand more boldly. I am particularly interested to see how you continue to push both the formal and conceptual aspects of your portraits, and how your work develops as you engage with wider audiences.

Thank you for allowing me to review your work and artistic practice. It’s been an honour!

Most Sincerely,
Kurt