Latvian-origin artists Margarita Jefimova (1967) and Gundars Gulbis (1968) live since the end of the 1980ies in Estonia. In the Estonian Academy of Art Jefimova graduated from the speciality of fashion, Gulbis from the speciality of glass. Since the beginning of the 1990ies they have participated in several exhibitions.

At the exhibition “Blob’s blinking” the authors expose stained glass works and paintings. Works of  Jefimova-Gulbis are a result of close co-operation. One can detect there devolpment and repetition of motifs and situations in different solutions, the same situations are played through both in paintings and  stained glass works. Works of  Jefimova-Gulbis are extremely colour sensitive and poetic.

Stained glass is most probably one of the least sustainable and describable artistic styles. Because if we try – as we always do – to classify it, to place it somewhere, we are in difficulties. Let’s start from the very first questions: should we rather ask about stained glass works what for? rather than why?, is it rather applied arts with its clear functions of using or an artistic style, resting in its independent nest, possessing no applicable value? Here is the point where problems start emerging.Undoubtedly stained glass works are connected with applied arts with a joint umbilical cord – basis of both has been a certain social order. Starting from church windows and ending with mural paintings in villas. But still it seems that in case of  stained glass works we should form the question totally differently: we should ask, what do we consume, in case we consume a stained glass work? Here we do not talk about cubic content (dishes) or the necessity to cover ourselves (textile), here we are dealing with notions that belong to the borders of the spheres of aesthetics, physics and religion: light, but not only, colours, but not ordinary, conditions, but not permanent.

Symbiosis of  stained glass works and the art of painting may seem at the first glance suprising, well, let’s say that even unexpected, but while taking a closer look can clearly be seen their similar fabric. Because what are the functions of a painting? In the 20th century, when to a larger extent was implemented distraction from copying of the reality and more vigorously were stressed the “specific values” of painting, always were reached such notions as “the colour” and “relationships between colours”, but also “light-shadow”, “volumes and rooms”, etc. Actually one stained glass work contains several paintings. Morning red becomes at changing of the light carmine, yellow  beside it changes its complexion several times, again and again, creating so continuously new “relationships”. There is no point in discussing the light. The light is there anyhow. How else?