Alīna Grīnpauka

Alīna Grīnpauka was born on 29 September 1989 in Ventspils.

Alīna Grīnpauka is a young Latvian artist who has blasted off to the global and, subsequently, also Latvian artistic sky as a dazzling rocket. The rocket refers solely to the speed of her success and does not at all imply that her brightness has begun to fade or is already lost.

It was not long ago – in autumn of 2019 – when the world-renowned publishing house Taschen published The Illustrator. 100 Best from Around the World, another book for a wide audience which covers the subject of the art of illustration. In Latvia, all mass media nearly exploded as they reported that Alīna Grīnpauka – the only artist from Latvia and from the Baltic States for that matter – was named among the 100 best artists who create illustrations, nowadays so diverse and known already for centuries (in books, magazines, newspapers, on screens, walls in homes, packaging, etc.). She is mentioned among the fashion illustrators, one of the most recent, rarest and, so far, smallest categories. It is a rare profession that flourished after World War I to draw attention to the principal fashion trends in various countries and their seasonal and longer-term changes, to introduce the public to the developments in major fashion houses and the signature styles of the greatest artists and to attract a following among those who produce the clothing wholesale and those who buy, order, wear and sew it themselves. The first surge of hand-drawn fashion illustrations was followed soon after World War II by a strong, seemingly endless wave of opportunities in colour photography with ready-made garments worn on the lithe and slender figures of fashion models. The modelling poses to promote and sell clothes appeared to be trained, overly accentuated, even aggressive. Over time, this lack of variety proved to be the weak point as it was clearly obvious during fashion shows and difficult to hide even in the works of the greatest fashion photographers. The manner and means of presenting new fashion was running out of lightness, freshness and freedom of breath. This resulted in a logical return to garment drawing and painting on a whole different level of quality as professional artists turned to creating unique, conceptually and substantially fulfilling artistic images of high value. This is the time of Alīna Grīnpauka.

She was discovered by the famous brand Valentino in a truly modern way – on Instagram where the artist regularly posts her latest work. They are paintings of pure fantasy depicting human figures or half-figures in contemporary clothing or even just their heads in contemporary head-dresses. She has never intended to implement these ideas, since the practical creation of a garment is not her cup of tea. Following her success with Valentino, she also received collaboration invitations from other fashion brands – Dior, Max Mara, Alberta Ferretti, Tiffany & Co, and others. Fashion shows, their promotional campaigns as well as offers by book publishers and magazines make up Alīna's day-to-day work. It has become more difficult, yet more interesting. To satisfy the wishes of her customers (the collaboration takes place remotely), she has to stand ready to accept more ambitious plans of creative teams, present her ideas and solutions and "sell" them to find the best possible solution at a given moment.

"Currently, illustration is not so much a detailed depiction of clothing as a feeling, vision, story, and message, something that captivates you," the artist points out in an interview. She reveals in another interview: "I have found my way of visual expression by merging contemporary fashion illustration with figurative painting. To bring the illustration to life, I have given up the digital depiction in favour of intuitive painting using coal, watercolours, and acrylic." They are, of course, mostly young, beautiful women. Introspective, immersed in thought (hardly ever looking directly at you), self-sufficient, externally fragile, strong in their personal independence and rich, mysteriously veiled spiritual world. The viewer's attention and mind are attracted by the way the depicted being experiences the surrounding world and herself in it – both in general and at the very moment she is living. Yes, the garment is wonderful, it suits her, they are essentially one. Alīna's breathtaking painting style is as free, easy and natural as breathing. She chooses large formats. It is more difficult, takes confidence and an even greater mastery. Indeed, she has it, and it is growing, because she is happy to do her work every day.

The artist gladly shares her knowledge. She organises in-person and online lectures at the design and art schools of Latvia and cycles of practical lessons. She even managed to temporarily open a dedicated art space (gallery) in Riga to display original works of fashion illustrations. Unfortunately, several wonderful plans have been sunk by the pandemic. Nevertheless, the creative liveliness of Alīna Grīnpauka and her joy of working seem to be unstoppable. Imagination is pulsating, ideas are sparkling and flowing – this is her natural state of mind. She continues to calmly and somewhat mysteriously shine through her art.

Alīna Grīnpauka has graduated from Riga School of Design and Art where she studied environmental and interior design (2006–2010). Afterwards, she studied functional design at the Faculty of Design of the Art Academy of Latvia (2010–2014). She has obtained a Bachelor's degree with her diploma work PELIKAN. A [leather] photo bag for women (adviser: Prof. Holgers Elers), receiving the highest mark (10). Alīna has also improved her skills specifically in watercolour painting in New York (US).

The biography was prepared by Rūta Muižniece,
Master of Arts