Indrikis Gelzis’ work operates at the intersection of sculpture, visual language, and conceptual inquiry. Over the course of his practice, Ģelzis has transitioned from early explorations in video and installation art to abstract sculpture, spatial objects, and “wall sculptures.” These works integrate industrial and organic materials such as stainless steel, MDF, natural veneer, textiles, and paint, manipulated through processes including cutting, bending, welding, burning, and collage. His work is distinguished by its processual nature: each work unfolds from the logic of the preceding one, foregrounding continuity and investigation over closure or definitive statement. Rather than imposing a singular message, Gelzis deliberately cultivates interpretative openness, allowing viewers to construct meaning through their encounter with the work.

Indrikis Gelzis practice interrogates the shifting relationships between the human, the natural, and the technological, as well as the tension between organic and mechanical systems. Recent exhibitions, such as Bingo Gaze (2024), exemplify this concern through the integration of sculptural form with light and sound environments. In these settings, perception is examined as a mediated experience structured by temporal, optical, and acoustic phenomena. Furthermore, his works frequently evoke an “algorithmic reality”: formal arrangements that recall data visualizations, networks, or cartographies. These do not represent empirical data per se but rather the affective and epistemological resonances of such systems—identity, memory, fragmentation, and relational tension.

Central to Gelzis’ practice is the negotiation of formal and conceptual dualities: linearity and spatiality, system and fragment, information and experience. His aesthetic language also incorporates an affective dimension, one that might be described as a form of romantic claustrophobia bound to fragility, entropy, and temporality. In this respect, his cyborg-like aesthetic—merging biological associations with industrial form—positions the viewer in a liminal space that is simultaneously unsettling and seductive. Here, rigid materials assume corporeal qualities, while mechanical structures acquire metaphorical and emotional resonance, underscoring the instability of boundaries between organic life and technological systems.

Indrikis Gelzis (b. 1988, Riga, Latvia) lives and works in Riga. He earned an MA in Visual Communication from the Art Academy of Latvia and a Postgraduate degree from HISK – Higher Institute for Fine Arts, Ghent. Gelzis has presented solo and two-person exhibitions at the Latvian National Museum of Art (Riga), Polina Berlin (New York), Suprainfinit (Bucharest), Jenny’s (New York), Tatjana Pieters (Ghent), Castor (London), Kim? Contemporary Art Centre (Riga), ASHES/ASHES (New York) and King’s Leap (New York). He has participated in group exhibitions at Tatjana Pieters (Ghent) and Union Pacific (London). Gelzis’ works are included in the collections of the Latvian National Museum of Art, Riga, Latvia; Museum of Recent Art, Bucharest, Romania; S.M.A.K. – The Municipal Museum of Contemporary Art, Ghent; The Lewben Art Foundation, Vilnius, Lithuania; and CELINE ART PROJECT, Paris.