Ideas on the role of the artist's personality and potential in the processes of emerging artistic paradigms involve complex, often hard to define qualities of perception, choice and stimulation on various psychic levels. In the 20th century sculpture, especially in the second half of the century, there have been especially radical changes of practice, psychological involvement and perceptual concepts. A typical example is the personality of Serbian artist Marina Abramovic (1946). Realising often dangerous performances with snakes, insects, and stones, and undergoing physical pain, suffering or meditation, the artist has shown both courage and the ability to coordinate the streams of pulsating energy, subjecting herself to deeply open, intuitive perception. In Latvia the mid-1980s saw a wider use of installations and various actions and performances. Taking up the connection between psychophysical and mental spheres is revealed in the multimedia projects of Latvian artist Solveiga Vasiljeva. Using drawings of material structures, photographs and digital prints (including her own medical examination results), the artist invites the viewer to inspect unusual conditions of her body and psyche. In Latvia several sculptors, such as Ojars Feldbergs (1947), Ojars Bregis (1942), Andris Varpa (1950), Vilnis Titans (1944-2006), Pauls Jaunzems (1951) and Igors Dobicins (1958), have maintained the traditional national attitude towards stone as an ancient cultural symbol, perfecting the means of working stone and searching for a new context for their ideas.