Pictures

Essential deeds, secondary deeds left undone – how are they defined? How many acts are needed in order to achieve a goal? Do unnecessary deeds exist or is there, eventually, a meaning in everything?

I’ve recently been pondering these questions from my own point of view. My acts during the painting process and the choices that have lead to them have served as a basis for realizing the exhibition. What kind of deeds and choices does finishing a painting require? In the finished painting, what remains of the process?

I believed my paintings would become translucent atlases of my deeds, portraying paths from one thing to another. I was wrong. In order to become ready, the paintings seemed to need a final act from me – an act that covered anything and everything I’d painted earlier. Every finished painting was full of impenetrable fog and shadows, the secrets of which only a lucky guess might reveal.

The painting process made me face a new question: Is this what happens, whatever I’m doing? Does the latest act tend to outshine the previous ones? Are my earlier deeds significant at all, or is it just the most recent one that counts?

The exhibition is the third and last part in the series, the first part of which dealt with thinking (Ajatuksissaan – In ones thoughts, Galleria Huuto Uudenmaankatu, 2006), and the second part with time (Aika ja minä – Time and I, Porvoo Kunsthalle, 2006/07).

Additional info and pictures:
katariina.salmijarvi(at)galleriahuuto.net, www.galleriahuuto.net

Pictures

LFrom the plastic chemical lightness of a balloonpalmtree to the end of the world atmosphere of a nuclear explosion. From the reasonable to the extreme. Found photographs from the internet transform through an expressive painting process to mental landscapes of party atmosphere.

Do I pay respect to the found photograph and the things I found intresting in it. Or do I take the painting to whole new atmospheres through giving the painting process the power of taking me where it leads. Following only the spots and the marks the paint makes when painting? Reasonable and the extreme.

In hanging the works I am interested in the possibility of combining the different paintings and their different themes together. I like the idea of making two different worlds collide by hanging different works so that they will start communicating with each other. The theme I am aiming to with this show lies in between all the paintings in the exhibitions. The whole of the exhibition is more than what any of the individual paintings are alone.