More selected projects


“Boredom / Long Time” - A cycle of exhibitions featuring four young artists and their interpretation of process, time and space.



damaged car (2020)

Seaside, the sound of waves hitting the sand, a summer breeze, an empty space, time – long, short, dragging on, going too fast. What used to be the canteen of a fish processing factory will, between 10th of July - 4th of August, house a cycle of exhibitions featuring a different artist each week. Sigita Sniegs, Paulīne Kalniņa, William Jones, and Tīna Pētersone will each present their own interpretation of the theme “Garlaicība (Boredom) / Long Time”. 

The first cycle of exhibitions by the newly founded has a strong tie to its location, a micro-utopian environment in a state of transformation at the hands of each individual artist's process. is a new experimental art gallery, founded by scenographer and visual artist Krišjānis Elviks, and curator Tīna Pētersone. Combining site-specific and interdisciplinary exhibitions (with an interactive and stimulating online platform) process becomes not only the means, but part of the actual result for us to devour. We are challenged in how we look at art – about time. 

William Jones is a British-born, French-based visual artist and photographer - blurring the lines between storytelling and documentary. Sharing split second moments from his wanderings through landscapes - he presents them in new contexts to explore and deconstruct the tale behind them. His work shows a moment between creation and interpretation, where the showcase of work plays a role alongside the images themselves.


Tell us the story of the materials you choose to work with in this show?

It's a photography and sound exhibition. Until now, I’ve presented my pictures either via publications, or by making them part of an installation. This exhibition is the opportunity for me to show them as they are, without the filter of another medium.

The soundtrack goes with a picture in particular, called damaged car, that I took in Mallorca. I tried to give an extra dimension to it, so you can hear broken glass, closing doors, crickets, the sea, and slowed down summer hits.  

When does time pass quickly for you? And when does it pass very slowly?

During lockdown in France, there was this impression of living one very long summer day, where moments blend into each other and create this vast mental image of that period of time. It created some kind of a double impression, time passing by very slowly, but the memory of it just being a day in a lifetime.


In what way did the location of this exhibition affect your preparation and process for it?

I studied for five years in an art school in Brest, a harbour town in the west of France. I feel very connected to the ocean and the places you can find along its coast. The majority of the exhibitions I participated in have been in these countryside / seaside villages, so it clicked quite easily with the location of this exhibition.

What about the current art climate bores you?

I guess there's two sides to this question. I feel close to the values have been putting forward - decentralizing art, using abandoned buildings to show it. Basically, taking a step to the side. So, whatever is still going in the other direction, I am slowly losing interest in.

On the other hand, the feeling of boredom that an artwork can give, I find interesting. I remember when I discovered Ben Kinmont's work for example. Sending flowers, inviting people to have a meal together. Probably a few years ago I would have found these small gestures boring in a negative way. Today it is quite the opposite.

"It's more about the impression that an image can give, rather than seeking the direct translation of where it was taken. "

INTERSTICE | Group Project (2018)

It can sometimes feel like the world is developing in a very rapid pace - how do you as an artist ground yourself and your practice, to keep moving forward?

You can't really see it in this exhibition, but an important part of building projects for me is to do it as a group. Moments of abundance, others where nothing happens; there is something in small collectives, tribes, bands, that has stuck with me. I think working on smaller scales is a great way to move forwards in this time. 

You've mentioned that placing images in a new context, or with accompanying materials, tells a new tale in its own time and space. Does your work seek to preserve any elements of the original moment or create something completely new? 

Something in between, I think. I hope that my pictures are able to give part of the feeling that these places provoked in me. And at the same time, obviously now it's a picture, it's in a new context, so you have to play with the new status that it has been given and take it completely into account. It's more about the impression that an image can give, rather than seeking the direct translation of where it was taken.  

In a life full of fleeting moments, is there a 'temporary experience' from your past that has stuck with you until today?

One of my first memories is one of kicking pale coloured boas around a friend of my parents’ backyard. I'm not sure whether it's an actual memory of whether I saw a picture of myself in that garden and invented it. Then again, I can't quite remember that picture. That mix between reality, a picture, a memory, has stuck with me until today.

The work of William Jones with be exhibited by between 24 - 28 July 2020.
See more of William's work on his website – 
Or via Instagram – 
@oddl_liam exhibition 'GARLAICĪBA / LONG TIME' can be seen in Plieņciems, Latvia from July 10 2020 – August 4 2020.
For more info visit