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Have those from Latvians been different from non-Latvians? Very positive.

Herman Smorenburg

It seems that most of the people following the site — and sending in their findings — are Latvians who live abroad, particularly Latvian-Americans like myself. Characters are almost always fairly peripheral — generally not even supporting figures but ones who turn up extremely briefly in the background. Why do you think this is? The peripheral figures, at the margins of the narrative, are the ones that give a work of literature its color and depth. What is your favorite example? It blows my mind that each of those guys wrote about Latvians in their novels.

Don DeLillo has included Latvians in his work three! Perhaps while working on the book they met a Latvian on a train, or sat next to one on an airplane, and decided to make one of the characters a Latvian?

Parallax view :Imaginary depth illusion of 3D head tracking

Maybe a favorite childhood friend was Latvian? Who knows? The site also includes lots of imaginary Latvians that provide amazing insight into what their creators think about Latvians and the Latvian psyche. Talk about fog! Their gloom. For example, a novel called Livonian Tales by Lady Elizabeth Rigby Eastlake, an English noblewoman who traveled extensively in the Livonian region in the late nineteenth century.


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As a general rule I try to avoid nasty imaginary Latvians — irredeemable bad guys. I read a lot, keep my ear to the ground. As I said, imaginary Latvians are on my radar.

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Also, friends and acquaintances have pointed me in the direction of more than a few imaginary Latvians. They invite the onlooker to step into the desolate landscapes and to experience the silence and serenity of his dreams. In the course of time Herman Smorenburg has succeeded in raising his technique to great perfection, which in no small way contributes to the phenomenal quality of his artistic labour. In starting a new painting he does not rush. In order to work out an idea he makes a preparatory drawing with charcoal and pencil.

Perception Lecture Notes: Depth, Size, and Shape

This is done on a background of rubbed out charcoal, so that he can work in a quick way with pencil and putty rubber to experiment with composition, light and dark contrasts, depth and atmosphere. The rough drawing is made quickly.


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In a dynamic process the emotions, which he will later integrate in his later painting, appear on the paper. In this way the original idea is, as it were, frozen.

This is an exciting phase in the process of creating a painting. He is usually emotionally highly charged at this time. The point is to record the essence of the emotional blueprint in the drawing.

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As soon as this is successful the foundation has been laid and he can begin on the painting. That was important from the point of view of not wanting to make an exhibition that was purely fantastical and escapist; that these myths could be a way of narrating quite challenging things in culture and politics. What draws you personally to the sea?

Perception Lecture Notes: Depth, Size, and Shape

I think it was Arthur C. Or think of the ocean floor, which for sailors and our species in general, represents death. I was wondering if you could talk about this image a bit? The Drexciyans are mermaids of a sort, too.