And airear and aye-eye, was a poetic communication of a working process that studied patterns of thinking, their formation, language and speechless communication through an eggplant.

 

In the first sculpture in the space, eggplant peels were dried and used for a sculpture, and the insides of the fruits were roasted to make baba ganoush. The paste was given to a poet (Milka Luhtaniemi), who was asked to implement a text based on the experience of eating the paste, so that together the artist and the poet could explore the connection that the food created between them. The work studies different ways to communicate and experience intangible conditionality, as well as how we affect each other with our gestures and actions. By dividing the outcome of the work into two, it brings together two voices, adding another storyline to the work and leaving the viewer in between these two interpretations.

 

The second layer of time was brought to the space by glass sculptures, blown into molds, which with their forms studied the shifting nature and shape of eggplant. They were then given to people to fill the air inside them, by asking them to spend time with them and take them as part of their daily activities. After a period of time (decided by them who had them to communicate with), the sculptures were sealed with wax, wood and lemon, allowing the air of events and the moment spent with the sculptures during the excursions to be locked inside them. The sculptures had retained moments from their 3-4-day visit, car trip, and a stay at home with dogs before entering the space. Special thanks to Kristina Sedlerova-Villanen, Essi Kausalainen and Mikko Kuorinki, Pulla and Wott.

 

The floor in the installation has tea, water, clay, hay, plants and other organic materials under acrylic sheets, and they move when walked on. The floor bases on quantum physics and on a study on energy, in which it is suggested that a person can not enter a room without affecting it. The floor as a part of the installation focuses on an idea of individual experience, but also the connection of the self to the outside and also with the invisible.

 

In this installation mental is studied from a materials performative point of view and it wonders what happens to a sculpture if it is received for example as food, or if it focuses on the emptiness of it. The performativity of the material and invisible refer both to the information contained in them and to the transformation of the material through bodies, when changing it from solid into immaterial - into movements, thoughts and deeds, in which case the sculpture is not necessarily a permanent work but rather a starting point for an event or a thought. Or the installation is a starting point for a viewers thinking. Underlying is an interest to intangible communication between us and the environment, in which the air (as well as the body) carries traces of stories, moments, and emotions with it. The glassworks also reflects on time and its layered nature, and on different sensitivities of experiencing and receiving.

 

The exhibition studied connectedness of thinking, concentrating on a question of how thinking evolves as a part of an exhibition making and visualizing the unseen threads that lead to other people, events (planned and unplanned).