Exhibitions:

And Airear And Aye-eye
                                    C
                  
versions                  B
                                    A

AND AIREAR AND AYE-EYE 

 

 

23.6. - 3.7.2021 and 2. - 26.9.2021

at the Jan Van Eyck Academie Open Studios in Maastricht (A) and at Galerie Anhava in Helsinki (B).           

link to Galerie Anhava's webpage for more photo's and a text. 

 

Photos by Galerie Anhava and Niina Tervo                                                                                           

SIC Artspace

The installation studies moments; time stored in material and its connections to the outside - others and the invisible. The work has three phases and three time layers. The first phase was shown at the Jan Van Eyck Academie in Maastricht, when the work was mainly concentrating on the eggplant sculpture. The second phase was shown at the Galerie Anhava, when the thinking was focusing on the empty spaces inside the glass objects, and the third phase is yet to come. These phases study the events that happened during the time period when the works were made and shown but also the development of thinking around the works, and how the outside and others affect them and the process of the making.

As a part of the installation, there is a sculpture made out of eggplants; the 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 and she was asked to implement a text based on the eating of the paste, so that together the artist and the poet could explore the connection it caused between them through material communication and the gesture of giving a gift. The work explores different ways to 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 is also about giving room to others, and to add another storyline to the thinking - leaving the viewer in between the two interpretations. The text by Milka Luhtaniemi can be read here.

The second layer of time was brought to the space by intuitively clay-shaped glass sculptures that had retained moments from their 4-day visit, car trip, and a stay at home with dogs before entering the space. The sculptures were given to people the artist was in contact with during the making of the exhibition and were asked to spend some time with them and take them as part of their daily actions - to spend time and communicate with. 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 with them, to lock inside them. Special thanks to Kristina Sedlerova-Villanen, Essi Kausalainen and Mikko Kuorinki.

The floor in the installation has tea, water, clay, hay, plants and other organic materials under acrylic sheets, and it moves when walked on. The idea is based on an idea based on quantum physics, which emphasizes through energetic studies that you can not enter the room without affecting it. It focuses on the idea of an individual experience but also the connection of the self to the outside and also with the invisible.

In this work material is studied from a performative point of view and it wonders what happens to a sculpture or installation if it is received for example as food. The performativity of a material refers both to the information contained in the material and to the transformation of the material through bodies into movements, thoughts and deeds, in which case the sculpture is not a permanent work but rather a starting point for an event that renders the sculpture immaterial. Underlying this is the idea of intangible communication between bodies and the environment, in which the air (as well as the body) carries stories, moments, and emotions with it. The work reflects on time and the different sensitivities of experience, as well as the different traces of materialities.

B

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