Often using a minimalistic, monochromatic aesthetic reminiscent of fellow Latvian artist Vija Celmins, Avotiņš’ virtuosic imprimatura washes and technique blur and erase the specificity of his subjects, imbuing his images with an air of mystery, rather than nostalgia. They playfully engage with the relationshipsbetween analogue photography, the way history can edit and turn individuals anonymous, and with our own collective memory-making – impressions fading in and out of existence.

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