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Year and Place:    2019, Jingdezhen, China (Overglaze painting completed in 2021 during a creative residency at the Rothko Museum, Latvia) Materials:    Jingdezhen porcelain; matte clear glaze; brushed gold, silver, and gold chroming. Technique:    Original author’s models and moulds; slip‑cast porcelain, altered and assembled; gas‑reduction firing at 1350 °C; overglaze hand‑painting Description:    Canned Fish  forms part of the project Semantic Migration , exploring how obj

Year and Place:    2025, Latvia Materials:    Stoneware, glaze Technique:    Hand-built. Description:    Through these forms, the artist raises the question of how much we truly direct our own lives, and how much of our choices and decisions are in fact determined by external circumstances, systems, or invisible structures. The vivid colors lure the viewer closer, yet act as a mask for deeper reflections on the concepts of freedom, boundaries, and control. Exhibition History:

Year:    2025. Materials:    Hand‑shaped clay, terra sigillata, engobes, glazes. Technique:    Reduction firing in a smoke‑firing kiln. Place of Creation:    Daugavpils, Latvia. Description:    This piece emerges from a tactile, intuitive engagement with clay, enriched through layers of terra sigillata, engobes, and glazes that respond dramatically to the unpredictability of smoke‑reduction firing. The surface carries traces of transformation—subtle shifts of color, burn mark

Year and Place:    2025, Latvia. Materials:    Clay, terra sigillata, glaze. Technique:    Hand‑built; reduction firing in smoke kiln. Description:    This work arises from a similarly instinctive, material‑driven process, shaped through delicate layers of terra sigillata, slips, and mineral washes that interact with the volatile currents of smoke‑reduction firing. Its surface holds the fleeting signatures of that encounter—soft veils of grey, wind‑swept tonal gradients, and

Year and Place:    2019, Jingdezhen, China (Created during the JICI – Jingdezhen International Ceramic Institute residency) Materials:    Stoneware Technique:    Hand‑built; gas firing Description:    This sculpture forms part of the Unity in Diversity  series, which explores the coexistence of contrasting forms, rhythms, and material expressions within a single sculptural body. The work reflects on how individuality and difference can create harmony rather than conflict, ech

Year and Place:    2017, Latvia. Materials:    Porcelain, glaze, wire. Description:    The artist acknowledges that something hidden within porcelain itself provokes the creation of spatial visions—an urge to approach the very limits of material possibility, to surpass them in imagination, and to momentarily escape the constraints of three‑dimensional space and gravity. The making process becomes a dream‑like journey in which the material reveals a framework of abstract geome

Year and Place:    2018, Latvia. Materials:    Stoneware, glazes. Technique:    Hand‑built; reduction firing. Description:    Pumpunella embodies Una Gura’s signature tactile language, defined by a rhythmic, ornamental pattern of raised “pimples” that animate the surface like a delicate wire mesh. This texture creates a sense of continuous movement, allowing the form to shift subtly as light travels across it. The sculpture’s gently pulsating silhouette reflects the artist’s

Year and Place:    2020, Vilnius. Materials:    White clay, pigments, glazes, metal. Technique:    Hand‑built; electric firing at 1020 °C. Description:    In this triptych, water functions as a symbolic element drawn from recurring dreams, reflecting states of inner tension and emotional unease. The distant horizon line introduces a sense of the unknown, while the architectural forms suggest a fragile attempt to impose order on shifting psychological terrain. Created during t

Year and Place:    2020, Vilnius. Materials:    White clay, pigments, glazes, metal. Technique:    Hand‑built; electric firing at 1020 °C. Description:    This work belongs to the series Dreaming of the Sea , in which water becomes a symbolic and psychological landscape. The elongated vertical forms evoke distant horizons and shifting emotional states, drawing on recurring dream imagery. Through subtle color transitions and architectural silhouettes, the piece reflects on lon

Year and Place:    2021, Daugavpils, Latvia (Created during the 9th International Ceramic Art Symposium Ceramic Laboratory ). Materials:    Grey stoneware, pigments. Technique:    Slab‑built construction; pigment painting; smoke firing at 1150 °C. Description:    MARK MY ROTHKO No. 8  continues the artist’s exploration of translating the emotional and atmospheric qualities of Mark Rothko’s paintings into ceramic form. Created during the 9th International Ceramic Art Symposium

Year and Place:    2021, Daugavpils, Latvia (Created during the 9th International Ceramic Art Symposium Ceramic Laboratory ). Materials:    Grey stoneware, pigments. Technique:    Slab‑built construction; pigment painting; electric firing at 1250 °C. Description:    MARK MY ROTHKO No. 3  emerged from the artist’s participation in the 9th International Ceramic Art Symposium Ceramic Laboratory  in Daugavpils, held adjacent to the Mark Rothko Art Centre, where original Rothko pa

Title:    Transformation (Nigredo, Albedo, Rubedo). Year and Place:    2022, Lithuania. Materials:    Stoneware, engobes, glazes, gold lustre. Technique:    Hand‑built and partly molded; fired at 1250 °C. Description:    Created for the 7th Vilnius Ceramic Art Biennial (AL)chemistry , this work is conceived as a sculptural interpretation of the classical alchemical cycle. Nigredo —the blackening—embodies chaos, dissolution, and the dominance of subconscious or destructive for

Title:    Prying Mantis    (from the exhibition Fear Whispering ). Year and Place:    2023, Lithuania. Materials:    Stoneware, pigment, engobes, glaze. Technique:    Hand‑built and partly molded; fired at 1250 °C. Description:    Prying Mantis  was created within the artist’s solo exhibition Incantation of Fear , a project exploring how subconscious fear manifests amid rapid social and geopolitical shifts. The mantis figure operates as a symbolic entity embodying both revere

Year and Place:    2022, Lithuania. Materials:    Stoneware, ceramic stains. Technique:    Hand‑building; electric firing at 1230 °C. Description:    Deep Blue  reflects the artist’s ongoing exploration of lightness, balance, and the subtle interplay between form and atmosphere. The sculpture appears to hover between solidity and dissolution, its matte surfaces and fluid contours suggesting movement, vitality, and the illusion of weightlessness. Through sensitive handling of

Year and Place:    2023, Bolesławiec, Poland (Bolesławiec International Ceramic Sculpture Symposium). Materials:    Stoneware. Technique:    Hand‑built stoneware base; layered slip‑drop surface structure; gas firing at 1250 °C. Description:    The Foggy Landscape  forms part of the artist’s ongoing Landscapes  series, which examines how natural environments shape our sensory and emotional experience. This sculpture captures the softened, muted presence of a landscape envelope

Year and Place:    2025, Daugavpils, Latvia. Materials:    Stoneware, glaze, oxide‑colored porcelain. Technique:    Hand‑built stoneware base; layered slip‑drop surface structure; spray‑applied porcelain slips; glaze finish; electric firing at 1250 °C. Description:    Storm  belongs to the artist’s ongoing Landscapes  series, which examines how natural forces shape our emotional and physical perception of the environment. This sculpture evokes the charged atmosphere of an app

Year and Place:    2022, Saaremaa, Estonia. Materials:    Stoneware, glaze. Technique:    Hand‑built and wheel‑thrown construction. Description:    This sculptural work stages a visceral confrontation between a human figure and a fox‑beast, presenting the same narrative from opposing perspectives. Drawing on folklore, instinct, and the primal logic of survival, the piece explores how fear reshapes perception—how a familiar creature by day can become a monstrous threat by nig

Year and Place:    2025, Tallinn. Materials:    3D‑printed components, slab‑built elements, assemblage; various ceramic materials, brass. Technique:    Hybrid construction combining digital fabrication and hand‑built ceramic processes. Description:    Esoteric Transponder  draws inspiration from the early 20th‑century Dada movement, embracing humor, irrationality, and the poetic potential of the absurd. The sculpture resembles a mysterious device—an object that feels as thoug

Year:    2024. Materials:    Porcelain, glaze. Description:    This sculpture depicts a hybrid being moving through a world where life has become scarce. Its body, like nature itself, is in constant transformation. The figure scans the landscape in search of remaining lifeforms while simultaneously embodying the fragility of survival in a changing environment. Exhibition History:    "Free Form" exhibition in Riga Porcelain Museum, 2024; Baltic Contemporary Ceramics Exhibitio

Year:    2025. Materials:    Porcelain, chamotte clay. Technique:    Hand‑building; electric firing at 1240°C. Description:    This work explores the dialogue between two contrasting ceramic materials: the earthy solidity of chamotte clay and the fragile, dynamic nature of porcelain. Through hand‑built forms and responsive making, the piece highlights how delicacy and deformation in porcelain can both oppose and harmonize with the grounded, static presence of clay. The result