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Helsinki 2018

BELA BELA BIENNIAL BIENNIAL OF OF EUROPEAN EUROPEAN AND AND LATIN LATIN AMERICAN AMERICAN CONTEMPORARY CONTEMPORARY ART ART 1 Kaapelitehdas Kaapelitehdas -- Cable Cable Factory Factory


BELA

- Biennial of European and Latin American contemporary Art BELA is an international contemporary art biennial, where meet art and artists from different countries in Europe and Latin America. BELA biennial will occur every time in different place in Europe and Latin America. First biennial was in Porto, Portugal 2012 and the second one 2014-2015 in Rio de Janeiro, Brazil. Now it is time to show it in Finland, Helsinki. Exhibition is curated by Maaria Märkälä from Finland, Michael Arantes Müller from Germany and Edson Cardoso from Brazil

Haluamme kiittää kaikkia, jotka ovat auttaneet toteuttamaan tämän näyttelyn: We would like to thank all who have helped to realize this exhibition.: Maaria Märkälä Marjukka Paunila Michael Arantes Mueller Cidô Brecheret Maria Lucia Junqueira Daisy Puccinni Rodrigo Magalhâes Marcelo Pellotta Pedro Palomino Pekka Parviainen Eeva Zwijnenburg Pim Zwijnenburg Kim Silva Jean Silva Matheus Bueno Roberto Padilla Teresa Asmar Gustavo Kuklinski and of course the most important all the artists! Kiitos - Thank you - Obrigado Helena and Edson Cardoso

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Special invited artists: Vitor Brecheret [4] Neville de Almeida Ivald Granatto [10]

Brazil:

Ana Goldberger [40] Anderson Bolcato [42] Antonio Bandeira [24] Carmen Thompson [66] Cuscua [68] Daniel Laucas [70] Danilo Di Prete [32] Emerson Murikami [80] Eugene Sigaud [30] Gisa Nogueira [82] Goretti Gomide [86] Glaucia Cupertino [84] Gustavo Kuklinski [88] Henrique Piantino [94] J Vasconcellos [120] Jose Antonio de Lima [12] Joseph Figorelle [122] João Francisco Muzzi [34] Julio Leite [126] Leopoldo Raimo [28] Lila Hamdan [152] Lucas Rehnman [156] Luisa Dequech [158] Marcio Goldzweig [164] Roberto Micoli [26] Rodrigo Cid [212] Sonia Lima [228] Teresa Asmar [238] Umberto Nigi [252]

Finland:

Tanja Ahola [232] Sirkku Ala-Harja [226] Anna-Kaisa Ant-Wuorinen [48] Vesa Arjatsalo [256] Ilona Cutts [98] Marja Hakala [170] Raija Heikkilä [206] Outi Heiskanen [8] Bambu Hellstedt [56] Sini Hodju [222] Hanna Holma [90] Helka Immonen [92] Kristina Isaksson [144] Eeva-Liisa Isomaa [74] Jonna Johansson [118] Inka-Maaria Jurvanen [102] Jari Järnström [114]

Minna Kangasmaa [182] Sakari Kannosto [216] Virpi Kanto [258] Juho Karjalainen Ulla Karttunen [244] Eija Keskinen [78] Ursula Kianto [250] Juha Sven Korhonen [124] Marjukka Korhonen [172] Päivi Kukkasniemi [204] Ulla Kuronen [246] Ipi kärki [104] Virpi Lehto [260] Kalevi Liski [132] Sirkka-Liisa Lonka [224] Kiba Lumberg [140] Kaisu Lundelin [130] Tapio Lötjönen [248] Carita Maury [202] Peter Maury [198] Antti Minkkinen [50] Veikko Myller [254] Nonna-Nina Mäki [186] Leena Mäki-Patola [146] Maaria Märkälä [160] Riitta Nelimarkka [210] Kirsi Neuvonen [142] Angela Oker-Blom [44] Anu Osva [54] Mikko Paakkola [180] Pekka Parviainen [196] Marjukka Paunila [174] Tarmo Paunu [234] Iiris Pessa [96] Kaija Poijula [130] Antti Raitala [52] Merja Ranki [176] Leena Rantanen [148] Jertta Ratia [116] Topi Ruotsalainen [242] Panu Ruotsalo [194] Ilona Rytkönen [100] Jaakko Rönkkö [108] Merja Salonen Di Giorgio [178] Airi Salosmaa [38] Misa Saraste [184] Iria Čiekča Schmidt [106] Sophie Schubakoff [230] Janna Syväoja [110] Maj-Lis Tanner [162] Sari Tenni [218] Eeva Tervala [72] Anne Tompuri Katja Tukiainen [134] Leena Turvanen [150] Aino Ulmanen [36] Eeva Valkeisenmäki [76]

Sari Vennola [220] Tatu Vuorio [236] Anna Wilhelmus [46] Maria Wolfram [168] Katja Öhrnberg [138]

Denmark:

Bjorn Eriksen [58] Ole Skovsmose [190]

Sweden:

Bo Alström [60] Lisa Burenius [154] Carina Fogde [64] Margareta Gelles [166] Titti Hammarling [240] Monika Kiviniemi [188] Sackarias Luhanko [214] Kerstin Svanberg [138]

Norway:

Ole Jakob Ihlebaek [192] Calina Pandele Yttredal [62]

Germany:

Thomas Bruggman Lilly Grote [18] Jens Hanke [16] Michael Arantes Müller [22] Friedrich-Daniel Schlemme [14] Marta von Zeodler [20]

Poland:

Przemek Soim Pawlik [200]

Colombia:

Raúl Mejía Moreno [208]

Argentina: Jantus [112]

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Victor Brecheret Victor Brecheret was born on December 15, 1894, in Farnese di Castro, Italy, arrived in São Paulo while still a boy, and adopted the city as his own. He is recognized as one of the country’s most important sculptors for having introduced modernism in Brazilian sculpture, having also participated in the École de Paris and been decorated as a Knight of the Legion of Honor by the French government in 1934. In his youth he attended classes at the São Paulo Lyceum of Arts and Crafts, and he later used its premises and apprentices to cast the Caxias Monument (1945), one of the world’s largest equestrian monuments. Brecheret studied in Rome, where he was in contact with the artistic vanguard of the 1910s and 1920s. He was a disciple of Arturo Dazzi and was influenced by post-Rodin sculptors such as Ivan Mestrovic and Émile-Antoine Bourdelle. When he returned to Brazil at the end of World War I, Brecheret connected with Di Cavalcanti, Mário de Andrade, Oswald de Andrade and Menotti del Picchia, who were fascinated by the modernity of his sculptures. Together with Anita Malfatti, he is considered the pioneer of Modernism in Brazil, as well as of the avant-garde thinking that culminated with the 1922 Modern Art Week, when twenty sculptures were exhibited in the lobby and corridors of the São Paulo Municipal Theatre. In 1936, the São Paulo State Government commissioned the production of the Bandeiras Monument, a project that had been initially presented as a model in 1920, and to which he returned over a decade later with a sense of great contemporaneity. Brecheret dedicated almost 20 years to the execution of this project, which is considered his masterpiece, was completed in 1953, and has become a city icon. In 1951, he was awarded as the country’s best sculptor at the 1st Biennial Exhibition of the São Paulo Modern Art Museum. Brecheret died in São Paulo, on December 17, 1955. 4

Curator Daisy Peccinini


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Two Female Nudes 31 x 22.5 cm pen on paper Facsimile 1950’s 6


Horseman Lacing Buffalo (study for Marajoara Drama) 21.5 x 32.5 cm quill pen on paper Facsimile 1950

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Outi Heiskanen Akateemikko, professori ja kuvataiteilija Outi Heiskanen (s. 1937) tunnetaan ennen muuta pienistä, ihmisiä ja taruolentoja kuvaavista metalligrafiikan töistä, joissa on usein läsnä mystinen satumaailma. Hän yhdistää töihinsä akvatintaa ja etsausta tai kuivaneulaa. Heiskanen, joka käyttää taiteilijanimeä Heis, on pitänyt paljon näyttelyitä ja toiminut eri taiteilijaryhmien, mm. Bellinin akatemian, kantavana voimana. Hän on koonnut töistään kollaaseja, veistoksia ja installaatioita sekä taiteilijakirjoja. Outi Heiskanen on opiskellut Taideteollisessa oppilaitoksessa ja Suomen Taideakatemian koulussa. Hän kuului Mestari K:n eli Pentti Kaskipuron oppilaisiin. Heiskanen oli Helsingin Juhlaviikkojen Vuoden taiteilija 1986, Kuvataideakatemian grafiikan linjan professori 1992-95 ja Kuvataideakatemian rehtori 1994-95. Hän on Helsingin yliopiston kunniatohtori ja akateemikko vuodesta 2004. Hänelle myönnettiin Suomen Leijonan komentajamerkki 6.12.2011. Hänen töitään on esillä mm. Ulkoministeriössä.

Academic, teacher and artist, Outi Heiskanen (b. 1937), is best known for her work in smaller metallic graphics that illustrate people and mythological figures, which often contain the presence of the mythical fairytale world. She combines aquatint, etching and dry point in her works. Heiskanen, who uses the stage name of Heis, has held numerous exhibitions and has served as inspiration for many artistic communities, such as the Academy of Bellini. She has gathered from her works; collages, sculptures and artist books. Outi Heiskanen studied at the Institute of Industrial Arts and the Finnish Academy of Fine Arts. She was Master K’s, ie Pentti Kaskipuro’s students. Heiskanen was Helsinki Festival’s artist of the year in 1986, the Academy of Fine Line Graphics professor from 199295, and Rector of the Academy of Fine Arts from1994-95. She has honorary doctorates from the University of Helsinki, and academic since 2004. She was awarded the Commander of the Lion of Finland in 12.6.2011. Her work is exhibited at the Foreign Ministry for example.

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Kuun varjo

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Ivald Granato Ivald Granato (1949 - 2016) was born in Campos, in the state of Rio de Janeiro in 1949. Until 1966 he stayed in his hometown learning to draw unde influence of cubist painters. In that year he started his studies with Robert Newman and the following year he joined the School of Fine Arts of the State University of Rio de Janeiro. Always controversial, he also used the performance along with painting as a form of artistic expression. He has received many awards during his career and his works can be found in the most important museums, companies and private collections in Brazil and around the world. He executed numerous individual and collective exhibits in Brazil, United States, Japan, Germany, Finland and Central and South America. A significant cultural activist, Granato is considered "the mover and shaker with paintbrushes".

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Passaro - FÃ¥gel 120 x 80 cm Acrylic 11


José Antonio de Lima When the artists of the Italian Transvanguarda rediscovered, in the late 1970s, that making art is “getting one’s hand dirty”, in the literal sense of the expression, they sent a warning signal to a young artist, who was still taking his first steps in artistic production. Be it in the manual processes of producing the work of art or in today’s electronic media, the pleasure of art lies in making, in metamorphosing, in transforming matter into form. At the time, art was going back to its internal motives, to its place par excellence, which is finding within itself the necessary energy to build images. Art is production and it entails work. José Antonio de Lima has always enjoyed handling diverse materials, mixing, modeling, painting, sewing or sculpting, with paper and wire, with fabric, with earth and iron dust: the poetic is something that emerges from the artist’s inner silence and then, one day, these shapes that had previously moved from flatness to the three-dimensional space of sculptures and volumes, wanted to take flight. From pencil sketches, drawings, totems, cocoons emerged the cathedrals and the tramas (wefts) – “from the cocoon to the butterfly”, says the artist – but it is always the artist’s intervention on matter, the chrysalis that emerges thanks to the transformation of living matter, such as the larva or even inert material, that takes flight into space: living silence in monumental scale. In this book we have the synthesis of a trajectory that began in the 1980s and is now in its full artistic maturity. All his pursuits, tries, and paths followed show that it is the quest and hard work that make the artist; the love of details, of collecting the slightest sensations and the smallest thoughts in the desire to remain open to change and experiences. Drawing has followed José Antonio since he was thirteen, when he decided he wanted to be an artist; from drawing he went on to painting and sculpture. The “totems”, the “tools and weapons”, more than bringing back clear memories of his childhood, are also studies of space; they are drawings and paintings that escaped from flatness, which has never been present in his work. Mario de Andrade stated that what he liked about drawing, in its very complex nature, “is its infinitely subtle character of being at the same time transient and filled with wisdom”. (Mario de Andrade, “Do desenho”). Drawing is a dream that comes true and the beginning of all artistic musing: it is the start of artistic action, according to those who introduced our concept of art, in the past. For Giorgio Vasari, we should celebrate the fact that the artist received from heaven the ability to, without any difficulty, reveal things alive and true. (Giorgio Vasari, Le Vite, v. 1, XV). The “cocoons” belong to an intermediary phase; they seem to be waiting for the artist to mold the shapeless material and from it to pull out the “being from the not being”. The “cathedrals” are direct consequences of his formal research, which consolidated into the “tramas” (wefts), whose ephemeral material demands permanence. It is memory that becomes metal: in the beginning there was flatness, which took flight without turning its back on its beginnings. The metamorphoses show that everything can be changed into everything in the direction of an “aspacial” center and of the atemporal – maybe of the invariable, too – but in his work, José Antonio shows that everything is temporal and we can only perceive things through the mediation of space and time. But he always goes back to painting; it becomes the field inside which the handmade and the concept finally find their balance, the experimentation field where all the other experiences can be applied as pictorial substance and mental power, a place where his most subtle and impalpable motives can be translated into image. 12


Montagem E 150 x 300 cm oil on canvas 2017

In order to respond to poetical work, we must always resort to a poet: “Painting, from then on, is ‘unpainting’/ fusing shape into darkness (into paste, into mud) / merging the whites/the greens and blues / into the dirty matter without light /and then, from the inside out / the painter reaches the end / that is, the beginning / from the dark paste (from the painted background) / reemerges the figure.” (Ferreira Gullar, Figura-fundo, 2013). The poet always makes up something to say, but only by saying it does he find the meaning of what he has said. Fernando Antonio Fontoura Bini Art History Professor and Art Critic Brazilian Association of Art Critics (ABCA/PR) (Member of AICA - Association Internationale des Critiques d'Art) July, 2013

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Berlin - presentation

FD Schlemme www.fdschlemme.de 1967 born in Berlin/ 1995-97 study of visual communication, painting and sculpting at the University of ort Berlin, Masterdegree in Fine Arts by Prof. Stelzmann (HDK)/scholarship to Madrid, Spain 1993-94/ studytravels to Great Britain 2002-06 The interplay of frame and bowed surfaces creates the objects of the Berlin based artist FD Schlemme. Between optical illusions, positive and negative space and constructional needs Schlemme realises his dynamic models in different materials. His sculptures out of stainless steal and transformed acrylic or plywood are floating, translucent objects. The reduced context of bowed tubes with the surface coating are important for the surprising goal. The paintings are irritating constructions composed out of colored lines. Every line is part of the 3 dimensional illusion in different layers. The development of both works are determined by improvisation and avoidance of straight plans. There is a first impulse who grows in a long process of playing arround with perception, dynamic and delusion into a particular context. The results are characterized by a organic-technoid language, play with our viewing habits and related to contamporary architecture and industrial design.

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35 x 80 x 75 cm disc, stealtubes and bowed plywood 2018

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Berlin - presentation

Jens Hanke www.jenshanke.de The recent series Secrets Dance on Their Own explores the formal and conceptual potential of oil-paint. The power and directness of this medium is something I particularly like. In this series I am focusing on the relationship of a threatened environment and a decay of architectural structures. The chosen forms and patterns are put together to build up a powerful language, which triggers multiple associations. The resulting paintings reflect fictive landscapes, which oscillate between abstraction and figuration. They portray the ambiguity of life at large, showing the fragility and uncertainty of our contemporary world, where conditions can change abruptly.

In der aktuellen Serie Secrets Dance on Their Own untersuche ich Möglichkeiten eine suggestive Spannung zwischen konkreten Formen und expressiven Elementen zu erzeugen. Die dabei entstandenen Arbeiten spiegeln fiktive Schauplätze, die, angesiedelt in landschaftsähnlichen Bildräumen, zwischen Abstraktion und Figuration pendeln. Die Szenen evozieren einerseits eine physische Bedrohung und suchen andererseits eine Balance zwischen Chaos und Ordnung. Sie zeigen die Unsicherheit unserer heutigen Welt, in der sich Konditionen ganz plötzlich ändern können.

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Not Even Plugged In 140 x 200 cm รถljy kankaalle / oil on canvas / ร–l auf Leinwand 2017

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Berlin - presentation

Lilly Grote www.lilly-grote.com

photo: Elfi Mikesch Lilly Grote lives in Berlin. She is artist and film director for movies and documentaries. She studied painting at the Kassel Art School (1970-1975) and film at the German Film and Television Academy in Berlin (dffb 1977-1982), where she later taught. She founded the production company SO 36 Film together with Ulrike Herdin in 1986. THE MAGICAL EYE Werner Schroeter film, theater and opera director in an interview on Lilly Grote’s light boxes Lilly Grote's light boxes remind me of the magical eyes in old VHF radios. The magic eye full of secrets. The boxes contain a secret world. Aspects of lost planets which can also be found within oneself. The eye from within the box. My eye looking at it and this eye looking back. It makes thoughts flow and the most diverse figural patterns move and dance in the mind’s eye. First the quiet in the magical eye, the sender is there ... it’s quiet. As I look at your box for the first time. I am calm inside and then start to absorb it. The eye looks back, there is constant winking between the box eye and mine. First it is quiet and then it begins to speak. The conversation, communication without words. It is very beautiful. But it is a hieroglyphic language, a secret language which requires no explanation, as any explanation would destroy it.This broad area is approached in an incredibly fruitful way, and I really like it. It is a quite unique form, shifting from tangible life to abstraction. That is the three-dimensional aspect, it is just that – a space. It is not a flat image speaking. To that extent it is similar to the eye, because it has various dimensions. Depth and plasticity. Multi-dimensional, the secret lies in a fifth, sixth, seventh dimension I would never question. This is the nature of artistic reality, artistic truth. Any explanation destroys the intention. It’s creative daydreaming. This is an essential aspect of the attraction to these works. The depth they have also protects them from being applied arts. Their craftsmanship does not predominate but rather maintains a balance with thought and creative power. The viewer can decide whether or not to get involved, wander with his eyes and enjoy seeing something beautiful which promotes his associative faculties. Association is a very important concept today, because it is sensuality, soul and intellect. Associative thought, action, feeling is an enormous spectrum of possibilities, these thousands of ways one should allow oneself to absorb, to compose something for oneself from an external artwork. Allow what is personal in the mind and the heart to set in motion and take shape. These boxes are made for this in an almost meditative way. 18

Werner Schroeter, September 2009


Counterpart 68 x 63 x 18 cm Light Construction 2016

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Berlin - presentation

Marta von Zeidler Born 1970 in Sao Paulo, Brasil, and lives in Berlin, Germany, since 1992 with several trips to the United States. After brief excursions into the worlds of radio and journalism Marta chose an artistic career and developed her artistic talent largely self-taught. The enthusiasm for painting led her from the traditional naturalistic landscape painting towards a highly abstracted and expressionist painting style. In the center of her painting is the interaction between nature, human psyche and faith. In her oil and acrylic paintings, the colors and shades of the abstracted nature are an expression of emotions and belief with the impressions of childhood in Brazil having a recurring impact. A little bit about me ... Already as a child I loved to draw and paint The love of art has been growing in me since the early days. However, mastering the art autodidactically has often been frustrating but I never gave up and I continued with my experiments. My source of inspiration are the memories of moments enjoyed in nature, the freedom of walking barefoot, sitting by the sea, contemplating the beauty of nature, longing for sunny days, long walks in the middle of a virgin forest accompanied by the smell of flowers and caressing the evening dew. There is not much to say! I seek authenticity, aim for life be overtaken by the sensibility of breaking down barriers caused by fears and negative experiences and search for the essence of life that is within me stripped of conventions. I express my feelings and values on the screen in an introspective manner.

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Degraus da Primazia 30 x 30 cm acrĂ­lico sobre sobre tela 2018

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Berlin - presentation

Michael Arantes Müller

1953 born in Berlin (east) Köpenick/ Study of painting and graphics at the University of Arts in Leipzig / 1991 Guestateliers in Italy and Salzburg/ Prof. at the international Summeracademy of Arts Salzburg / 1999 Studytravel to China /1994 – 2006 Studytravels to Amazone/Brasil / 2003 studytravel to Cairo / 2006 Prof. seminar of woodcuts MAM Museu de Arte Moderno Salvador/Bahia/ 2007 Artist in Residenz FAAP, Sao Paulo/ Prof. Seminar of woodcuts FAAP Sao Paulo / Curator of the exhibition "horizon observer" Museu National – Brasilia 2011/ Co-Curator of Bela Bienal, Rio de Janeiro 2015...

Extracts from the opening speech to the exhibition by Michael Arantes-Müller Arantes Mueller's woodcuts are not printed by a specially cut stick, like that of the Expressionists, who rediscovered medieval technology for the modern age. There are no print runs, they are usually unique. Muller prints his reservoir of sticks, which he constantly expands with found objects as well as with specially worked forms, which are partly signs of very present events, in ever new variations. What emerges and can not be calculated down to the last are images of very peculiar poetry, which sometimes appear as if they were synthetically produced, which confuses the viewer all the more as they are mostly archaic, as if they came from long-buried myths , such as fertility, growth, and also decay. His method is simple and at the same time very subtle. Sometimes it seems as if he himself is surprised how associations of found forms - the wing cover, the music stand or the discarded table top - gain new life on the pages. A surrealist method of metamorphosis, of surprising interpretations, lies in this, and it is no coincidence that some of the works are reminiscent of Max Ernst and his rubbings from the "Histoire naturelle", which accomplished a similar renaturation of culturally conditioned forms. What this art is all about is the creation of images from a syncretic vocabulary. The combination of old and new, in which something as yet unseen appears. For the new as an autonomous category has become obsolete in art, it turns in a circle and, where no linear development is more conceivable, can only gain in depth... © Matthias Flügge, (Matthias Flügge was Vice President for more than 10 years and President of the Berlin Academy of Arts 2005-2006.) Today Prof. Matthias Flügge is Rector of the Academy of Fine Arts in Dresden.

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Tower 120 x 60 cm woodcuts on canvas 2011 23


Antonio Bandeira (Fortaleza, Brazil, 1922 - Paris, France 1967) Self-taught painter, draftsman, engraver. In 1941, in Fortaleza, Ceará State, Brazil, along with Mário Baratta (1915-1983), he participated, among others, in the creation of the Cultural Center of Fine Arts - CCBA, which in 1943 gave birth to the Ceará Society of Fine Arts - SCAP. In 1945, Bandeira moved to Rio de Janeiro and the following year he had his first individual exhibition, at the Institute of Architects of Brazil - IAB / RJ. Chosen by the Brazilian government for a scholarship in Paris from 1946 to 1950, he attends the École Nationale Supérieure des Beaux-Arts and the Académie de la Grande Chaumière, but in search of non-academic art, he leaves these intitutions. Between 1947 and 1948, the painter takes part in two important art events: the Salon d'Automée and the Salon d'Art Libre in Paris. In Saint-Germain-des-Près he participates in meetings with artists such as Camille Bryen and Bernard Quentin. With Bryen and Wols, of whom he becomes friends, he forms the Banbryols Group, which lasted from 1949 to 1951. Back in Brazil in 1951, he settles at the studio of the sculptor José Pedrosa (1915-2002), where he also works with painter Milton Dacosta (1915-1988) and exhibits at the 1st International Biennial of São Paulo. In 1952, Bandeira creates a mural for the Institute of Architects of Brazil - IAB / SP, in São Paulo and returns to Paris in 1954 for the Fiat prize, awarded to him at the 2nd International Biennial of São Paulo. Bandeira keeps having exhibitions in Brazil while remaining in Europe until 1959. In 1958 Brussels, he creates a panel for the Palais des Beaux-Arts. Upon returning to Brazil, Bandeira had an intense artistic production, taking part in important exhibitions, and kept having shows in Europe: Paris, Munich, Verona, London and New York. In 1961, he published an album of poems and lithographs and within a year, João Siqueira made a short film about the painter´s work. He returns to Paris in 1965, where he lived until his death.

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Poemalhitos 34,5 x 48 cm serigrafia 1960

Poemalhitos 48 x 34,5 cm serigrafia 1960

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Roberto Micoli (Campinas, Brazil, 1953) Painter and designer. He had his first notions of drawing with his father Mario Micoli. Selftaught in painting, he is influenced by the works of Antonio Peticov (1946), Tomoshige Kusuno (1935), Mira Schendel (1919 - 1988) and Antonio Dias (1944). In 1978, he works at the Children's Arts Workshop at the Valinhos Cultural House in São Paulo and in 1983 he took part in the Jacaré Project of painting and performative activities in the streets of São Paulo. "In his current production, the stage of the return to the past of Art History has already been surpassed, and Micoli seems to have found, in short, a region prior to the emergence of History, the original notion of the artist: That God organize matter in chaos. If we follow his process in recent years we will see how the artist gradually realizes this trajectory of return to the mythical figure of the artist, through - initially - his use of signs originating from the most diverse cultures for the elaboration of his works. " - Tadeu Chiarelli

40 x 60 cm

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90 x 90 cm

90 x 90 cm 27


Leopoldo Raimo (Botucatu, Brazil 1912 - São Paulo, Brazil 2001). Painter, engraver and doctor. He moved with his family to the capital of São Paulo in 1918. During the course at the State Gymnasium (from 1924 to 1930), Raimo took classes with the academic painter Oscar Pereira da Silva (1867-1939). In 1931, he studied for a semester at the Escola Paulista de Belas Artes in São Paulo. He chose medicine as a profession, attending between 1932 and 1937 the Faculty of Medicine of the University of São Paulo (FMUSP) and acting as a physician ever since. Between 1951 and 1958, he participated in the Atelier Abstração, where he studied with the Romanian artist Samson Flexor (1907-1971), a member of the Paris School, who had settled with his family in São Paulo in 1948. In 1956 he joined the artistic director of the Museum of Modern Art of São Paulo (MAM / SP), taking part in the preparation of the management of the 4th International Biennial of São Paulo. In 1959, he studied engraving at the MAM / SP School of Crafts, and was then guided by the respected Brazilian engraver Lívio Abramo (1903-1992). Raimo is one of the founding members of the now defunct Núcleo dos Gravadores Public Engraving School of São Paulo (Nugrasp). In 1976, he joined the art and culture council of the Biennial Foundation for the 14th International Biennial of São Paulo. In Raimo´s work, according to curator Ana Paula Nascimento, there is the creation of an elusive, yet geometric, space based on the organisation of forms and the use of a chromatic scale in varied intensities, looking for effects and optical illusions. In the late 1950s, Raimo began to use oil and sand in his works, and the pictorial mass gained importance on the line, as in the series Telluric (1958-1959). Despite being an engraver since 1959, he started dedicating himself full-time to the graphic arts in the 1960s and 1970s, especially focused on woodcuts, mostly in color. These works often form series, which seem to address the universe of popular feasts and beliefs, such as Talisman (1970) and Junina (1980).

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50 x 50 cm 1977

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Eugene Sigaud (Santo Antônio de Carangola, Brazil, 1899 - Rio de Janeiro, Brazil, 1979) Painter, engraver, graphic artist, illustrator, set designer, critic, teacher, architect and poet. He graduated in agronomic engineering in 1920, at the School of Agronomy of Belo Horizonte. In 1921 he attends the free course of the National School of Fine Arts - Enba, and is a student of Modesto Brocos. Later in 1927, he entered the architectural course of Enba, which he concluded in 1932. Sigaud participates in the 38th National Salon of Fine Arts, organized in 1931 by the renowned urbanist Lucio Costa, known as the Revolutionary Hall for allowing the exhibition of the work of all inscribed, causing an uproar that leads to the removal of the urbanist from the direction of the institution. Sigaud, together with artists Quirino Campofiorito, Milton Dacosta, Joaquim Tenreiro and Jose Pancetti, the Núcleo Bernardelli artists group, in 1931. A movement that opposed to the conservatism in Enba at time. The group proposes, among other initiatives, the democratization of technical education and free access to art salons. In 1935, the group was expelled from Enba by pressure from the academics, but it remained united until the beginning of the following decade. Also in 1935 Sigaud joins Grupo Portinari, an informal association that gathers around the valued Brazilian painter Candido Portinari, with one of his main lines of action being mural painting. Sigaud becomes one of the main mouthpieces of muralism when he publishes, in the same year, the article Why Is Mural Painting Forgotten Among Us ? in the Journal of Fine Arts. He is then one of the Brazilian artists selected for the 1st International Biennial of São Paulo, at the Trianon Pavilion. At the invitation of his brother, Bishop Geraldo Sigaud, he designs and decorate the Metropolitan Cathedral of Jacarezinho, in Paraná State, Brazil between 1954 and 1957.

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20 x 17 cm

17 x 25 cm

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Danilo Di Prete (Pisa, Italy, 1911 - São Paulo, Brazil, 1985) Painter, visual artist, illustrator and posterist. Self-taught, he began his career at age 20 in Italy. He joined the Group of Italian Artists in Arms in World War II (1939-1945) and, with them, illustrated episodes of the war in Albania, Greece and Yugoslavia. His painting in the period is figurative, and among the themes he explores outside the group dominate navies, still lifes and portraits. He arrived in Brazil in 1946, settled in São Paulo, and for four years worked with advertising. In 1951, he participated in the 1st International Biennial of São Paulo and won the national painting award, with the painting "Lemons". Motivated to bring European post-war artists to Brazil, he suggested to Ciccillo Matarazzo (1898 - 1977) the idea of a​​ biennial in the manner of Venice. The artist is not mentioned by Yolanda Penteado (1903 - 1983), wife of Matarazzo, in his memoirs, nor by Antonio Bivar, his biographer, but it is a consensus that he acts in the planning of the exhibition. Participates in other twelve biennials. In 1965, again receives the national award of painting, in the 8th International Biennial o f São Paulo. The 60s represents a rupture in the trajectory of the artist, who leaves figurativism and begins to create exclusively abstract canvases. Equally radical is the thematic change in his work. His paintings now depict planetary surfaces, stars and the cosmos. It is worth noting that the search for a "planetary and cosmic" painting coincides with the beginning of the space race undertaken by the Soviet Union and the United States. Progressively, the paintings are gaining wire, nylon, barrel, lamp and other objects. Di Prete begins to use less traditional supports, such as boxes and plastic surfaces, which give a tactile dimension to the work and more weight the notion of movement. The dynamics of the lines become more agile and the iron materials, when bent, cause tension in the frame in such a way that these surfaces put the other elements in a state of almost agitation. There is something of technological exaltation in this procedure, remembering the very mechanics of rockets and satellites, as is the case of "Cosmic Landscape 2", 1967. The picture is a profusion of lines and curves that refer to the most varied celestial bodies. And if, on one hand, the objects on the screen affirm the new scientific horizon that opens at the time, on the other, point to an artistic experience, called by him "total art", increasingly evident in his work.

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29 x 38 cm tecnica mista sobre papel 1970

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João Francisco Muzzi (Italy, 17-- 1802) Painter, set designer and illustrator. He studies in Rio de Janeiro with José de Oliveira Rosa then begins his career as a set designer at the Rio de Janeiro Opera House, founded in 1767 by Father Ventura, and soon afterwards worked at the Manuel Luís Theatre. In 1789 he did two paintings depicting events he had witnessed, ”Fire” and ”Rebuilding of Childbirth Recollection” , today belonging to the collection of the Castro Maya Museums, in Rio de Janeiro. The publication entitled Botanical Map for the use of Luiz de Vasconcelos e Souza, viceroy of the State of Brazil, which can be found in the National Library of Rio de Janeiro, published around 1790, has some illustrations that are attributed to the artist.

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gravuras de plantas fluminenses 1976

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Aino Ulmanen

My painting process is intuitive and expressive. Weather events, tornadoes and other phenomena caused by climate change are the subjects of my paintings. My painting material, ash, is authentic, passionate and firm. The process of making the paint out of ash is a comprehensive one. I burn different species of trees separately from each other so that their tones remain pure. To me, ash is more than a pigment with which to mix my colours: it is like the stream of life that carries one along with it. During afternoon hours, emotion explodes on the canvas. In ash paintings, the colour is swirling, storming, dripping and giving off smoke. Shades of grey, brown and black diffuse into bluish and reddish tones, translucently shimmering through one another, fiercely crashing into each other.

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Aallon pyörteissä 100 x 95 cm akryyli levylle, pigmenttinä tuhka ja noki 2017 cm 37


Airi Salosmaa

www.kolumbus.fi/airi.salosmaa

Työskentelymenetelmäni käsittää melkein koko kuvataiteen kirjon: teen veistoksia, materiatauluja, maalauksia, lyijylasija tiffanytöitä, hautakiviä, muotokuvia, reliefejä ja tilateoksia. Aihe määrittelee aina teosteni muodon ja materiaalit. Yhdistelen usein kiveä, lasia, metallia, muovia, väriä ym.: kaikkea, mitä aiheeni tuntuu vaativan. Toisinaan riittää myös yksi työtapa ja materiaali, esim. maalaus, lyijylasi, kivi. Valo ja pimeys, ilo ja suru, henki ja materia kohtaavat teoksissani. Sininen ilmentää parhaiten töitteni perusideaa - henkistä kaipuuta kohti kauneutta ja hyvyyttä. Teosteni toivon koskettavan "sisäistä enkeliä" toisessa ihmisessä.

My working methods comprise almost the entire spectrum of visual art: sculptures, paintings, tiffany and stained-glass work, tombstones, portraits, reliefs and installations. I often combine stone, glass, metal, plastic, colour, etc.: everything that my art work seems to require. Sometimes there is also enough one working method and material, e.g. painting, lead glass, stone. Light and darkness, joy and sorrow, spirit and matter are encountered in my works. Blue expresses best the basic idea of my works. - the spiritual longing toward beauty and goodness. I hope that my works touch "the inner angel" in other human beings.

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Blue Thoughts 15 x 14 x 43 cm granite, soapstone, bronze, color 2008

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Ana Goldberger anagoldberger@yahoo.com www.anagoldberger.com

Ana Goldberger was born in 1947 in São Paulo, Brazil, where she lives and works. Mostly self-taught, she paints, draws, made tapestries, made prints (wood, metal, stone) and for the last decade, she has also been experimenting in digital art. And even more recently Ana began to paint watercolors. Color has always been her key interest. In acrylics, she uses bright, vivid colors – rarely black, tan, pastel colors. She began painting in oils, nonrepresentational works, later figurative works – nudes. Then she switched to acrylics and still-lives, landscapes, interiors. At present, Ana paints in acrylics, mixed media and watercolor chiefly still-lives and abstracts, while also exploring digital art. Her works have been shown in São Paulo and other Brazilian cities, in North America, Europe and Japan. Other sites to see her works: www.flickr.com/photos/127670465@N08/sets/72157649637170501 www.flickr.com/photos/127670465@N08/sets/72157649236690298 www.facebook.com/pages/ana-goldberger/106905426017384 www.facebook.com/AnaGdigital http://anagoldberger.imagekind.com www.redbubble.com/people/anagdbg https://society6.com/anagoldberger https://pixels.com/profiles/ana-goldberger/shop

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February 29 50 x 90 cm

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Anderson Bolcato www.andersonbolcato.com.br Bolcato was born in Lavras, in the interior of the State of Minas Gerais, Brazil on the eighth of February in 1982. Very early he demonstrated his interest in colored pens and pencils. He began classes in art and design at the age of four, with his aunt, who as an art teacher, she saw the great latent potential in this precocious youth. Althogh graduated in Law, today Bolcato dedicates himself solely to the arts. His works have been included in expositions in São Paulo, and Rio de Janeiro, where he received two prizes; and in Spain and the United States, at the United Nations Exhibition Hall, and in Lichtenstein. The artist uses oils, acrylics, and gold, silver and bronze leaf. Now he specializes in fluorescent paints, which glow when exposed to a black light.

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Brasileiro, nascido em Lavras, Minas Gerais, no oitavo dia de fevereiro de 1982, Bolcato mostrou desde cedo o gosto por lápis de cor e canetas. Iniciou as aulas de desenho e pintura aos quatro anos de idade, ministradas por sua tia, professora de artes, que viu no jovem precoce um grande potencial latente. Graduado em Direito, dedica-se hoje apenas nas artes plásticas. Seu trabalho já participou de exposições em São Paulo, Rio de Janeiro, onde recebeu dois prêmios, Espanha, Estados Unidos, na sede da ONU e em Liechtenstein. O jovem artista utiliza tintas a óleo e acrílicas, folhas de ouro, prata e bronze e recentemente se especializou em pinturas fluorescentes, que brilham quando expostas à luz negra.


Balthazar - one of the three wise men from the east 60 x 70 cm acrylic fluorescent 2018

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Angela Oker-Blom angela@oker-blom.org Savesta luominen on minun tapani pohtia ja ymmärtää kiihtyvässä tempossa muuttuvaa maailmaa josta olen osa. Savi välittää yhteyden menneisiin aikoihin ja kansoihin sekä avaa portin tulevaisuuteen. Materia ja aineettomuus kohtaavat käden kosketuksessa muovaillen ajatukset ja tunteet näkyviksi. Luin nuorena Rachel Carsonin kirja Hiljainen kevät. Tämä oli ensimmäinen varoitus elinympäristömme haavoittuvuudesta. Ihmisen ja luonnon tasapaino on ollut toistuva teema teoksissani siitä lähtien. Luonnon monimuotoisuuden puolustajat ovat nykyaikamme sankarit. Haluan ikuistaa heidän rohkeutensa ja saavutuksensa antamalla muodon ihmisille ja teoille jotka ovat vanginneet mielenkiintoni. Taistelu korvaamattomien luonnonvarojen säilyttämiseksi ylivaltaa ja riistoa vastaan antaa tuleville sukupolville ansaitsemansa mahdollisuuden. Haluan vahvistaa ja levittää tunnetta että jokainen on kyvykäs vaikuttamaan itsensä ja planeettansa kohtaloon. Koskaan aikaisemmin näin paljon tietoa ei ole ollut saatavilla niin monelle. Jokainen meistä on vastuussa muokkaamastamme tulevaisuudesta. Olemme elämän virran vesipisaroita - elämän kudoksen ohuita lankoja. Jokaisella teolla on merkityksensä. Kaikki elämän elementit ovat toisiinsa kytkettyjä. Jokainen patsas kertoo oman tarinansa.

By creating forms out of clay I try to comprehend a world in accelerating change. As a material clay provides a connection to past times and cultures while at the same time opening a door into the future. In the process of manipulating clay the concrete and the immaterial meet - giving tangible form to abstract thoughts and feelings. When I was young I read Rachel Carson’s book Silent Spring. It was the first warning of how vulnerable our environment is. Ever since, our fragile environment has been a recurrent theme in my artwork. The defenders of natural diversity are the heroes of our time. I want to pay tribute to the bravery of people that have inspired me by eternalizing them and their achievements. By fighting to preserve irreplaceable natural resources against pillage and destruction they are securing the means of survival for future generations. I want to strengthen and spread the feeling that every individual has the ability to influence their own and the planet’s destiny. Never before in the history of the world has so much information been accessible to so many. Each of us is responsible for the future we create. We are drops of water in the river of eternity - feeble threads in the web of life. Every act has a consequence. Everything is connected to everything else. Every sculpture tells its own story.

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Pyrstötähti 31 x 17 x 10 poltettu savi 2017 45


Anna Wilhelmus

s. 1966 Helsingissä / b. 1966 at Helsinki www.annawilhelmus.weebly.com instagram: annawilhelmus Kuvataiteilija, taidemaalari, taideterapeutti, kouluttaja, opettajana mm. Aalto Yliopistossa, Taiteiden ja suunnittelun korkeakoulussa Taidemaalariliiton ja Helsingin Taiteilijaseuran jäsen

Me and Mondriaan - Taiteen kierrätystä leikittelyä mestariteoksilla Miksi meitä taiteilijoita niin kovasti kiehtoo yksilöllinen ainutkertaisuus? Miksi taiteilijat tarvitsevat aina uusia ideoita? Eikö kaikki ole jo tavallaan sanottu ja tehty? Jo nuorena taideopiskelijana Piet Mondriaanin maalaukset koskettivat minua kauneudellaan ja tunsin syvää kunnioitusta niitä kohtaan. Ne ovat minulle kuin läheisiä paikkoja, joissa voin vierailla ja silti ne säilyttävät mysteerinsä. Kun kaksi vuotta sitten aloin käyttää hänen töitään lähtökohtana omille maalauksilleni, ensimmäinen ajatukseni oli: "Voinko lisätä näiden teosten ympärille mitään pilaamatta niitä? Voiko näillä teoksilla leikkiä?" Itseasiassa taiteessa on pitkä traditio, jossa taiteilijaksi tullaan mestareilta oppimalla ja heitä kopioimalla. Oma tapani toimia oli kuitenkin erilainen. Tässä prosessissa Mondriaanin teoksista tuli omien maalausteni kantasoluja. Valitsin joitain Mondriaanin teoksia työskentelyni lähtökohdaksi. Aloitin liimaamalla teoskuvasta otetun valokopion kankaalle. Maalausprosessin myötä kuvan värit, viivat, muodot ja elementit laajenivat uudelle alueelle. Tutkin näitä elementtejä lisäämällä niihin omat visuaaliset mausteeni. Minun piti antaa teosten puhua, kertoa kuinka jatkaa työskentelyä ja mitä kukin teos kulloinkin tarvitsi. Näiden kokeilujen kautta syntyivät omat maalaukseni. Visual artist, painter, art therapist, trainer and teacher Lecturer in Aalto University, The School of Art, Design and Architecture Member of Finnish Painters' Union & Helsinki Artists' Association Me and Mondriaan - Recycling art - playing with the masterworks Why are we artists so keen on being unique in our culture? Why artists always need to have new ideas? Isn't everything kind of said and done already? Already as a young art student I was touched by the beauty of Piet Mondriaan's works and I honour them deeply. For me they are like places - so close that I can visit them - and still they keep their mystery. So when two years ago I got the idea to use his paintings as the bases for my art works my first thought was "Can I add anything around these masterpieces without spoiling them? Am I allowed to play with them?" Actually there is a long tradition to learn from masters by copying their works or styles of working. I did it different though. Mondriaan's works became like stem cells for my paintings. I chose some of Mondriaan's works as a starting point: as a first step I glued a photocopy of one of his paintings on the canvas. Then started a process of letting colours, lines, forms and shapes expand into new territory. I explored these elements by adding my own visual flavours. I had to let them talk to me to know how to go on and what was needed to do. From this experimenting my own paintings were born. 46


Dune Landscape And Rising Horizon 90 x 140 cm mixed media on canvas 2018

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Anna-Kaisa Ant-Wuorinen

Anna-Kaisa Ant-Wuorinen (s. 1957 Helsingissä) on materiaalilähtöinen kuvanveistäjä ja ympäristötaiteilija, joka toisinaaan aiheen niin vaatiessa myös valokuvaa ja tekee videoita. Hän asuu ja työskentelee Somerolla. Ant-Wuorinen hahmottaa maailman menoa kuvataidetta tekemällä. Useimmiten lähtökohtana ovat teollisesti tuotetut, käytetyt esineet ja materiaalit, koska ne kantavat jo itsessään vahvaa sisältöön vaikuttavaa viestiä, kuten aseöljy- tai vesipullot, panssariaitaverkko, piikkilanka. Viimeksi veistokset syntyivät hänen oman kotinsa tulipalossa hiiltyneistä puuosista. Tässä näyttelyssä materiaalina ovat käytetyt silikoniimplantit. Ant-Wuorinen kuvasi vuonna 2010 Rio de Janeirossa Cidade de Deus -favelassa sen asukkaita pukeutuneina käytettyihin implantteihin bikineinä. Rannalla kameran eteen juoksi sattumalta nuori nainen, joka oli selvästi muokkauttanut vartaloaan silikonein. Vaikka Brasilia on kauneuskirurgian kärkimaita, eteni rannalla naisen juoksun tahdissa spontaani huudahdusaalto: "silicone, silicone, silicone...". Brasiliassa implantteja on asennettu ainakin rintoihin, takamuksiin, sääriin ja olkavarsiin.

Anna-Kaisa Ant-Wuorinen (b. 1957 in Helsinki) is a material-driven sculptor and environmental artist, living and working in Somero, Finland. She also takes photos and makes videos. She is perceiving the world through making art. In her works, the material is part of the content and the working methods add a narrative element. She has utilised for example gun oil and water bottles, chain fence, plastic bags. Latest sculptures are made of carbonized wood elements from her burned home. In 2010 Ant-Wuorinen photographed in favela Cidade de Deus of Rio de Janeiro local women wearing used silicone implants as bikini. In beach her camera caught by chance an young woman, whose body had obviously been surgically operated with silicone. Even though Brasil is one of the top countries in beauty surgery, her run was escorted by wave of spontaneous exclamations: "silicone, silicone, silicone..." In Brazil silicone implants has been installed at least to shape breasts, rumps, legs and upper arms.

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Ipaneman tyttรถ 2010 / Girl from Ipanema 2010 130 x 100 cm silisec dipond -tuloste / silisec dipond print 2010

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Antti Minkkinen

www.instagram.com/minkant/ www.espoonkuvataiteilijat.fi/index.php?k=21981

Oma pääni on suodattimena maailman ja maalauksieni välillä. Ympärillä tapahtuu ja paperilla tapahtuu. Maalaukseni kertovat kaikesta ja ei mistään. Viimeaikoina olen kiinnostunut taas vesiväristä. Vesivärillä virheitä ei voi korjata niin helposti ja pitää mukautua ja antaa maalin levitä vapaasti. Maalaaminen on kiitollinen tapahtuma siinä mielessä. Haluan kiittää Helsingin Saskia ry. Pro Arte stipendistä jonka avulla voin osallistua tähän näyttelykatalogiin.

My head is filter between the world and my paintings. Stuff goes in and things happen on paper. My paintings are about everything and nothing. Lately I have regained interest of watercolor. With watercolor you cannot control the mistakes so easily so you have to adopt more and let the paint flow more freely. Painting is such a grateful action in this sense. I would like to thank Saskia of Helsinki for Pro Arte grant which allowed me to take part in this exhibition catalogue.

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Game Over 46 x 61 cm vesiväri / water colour 2018

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Antti Raitala antti.raitala@gmail.com

Olen kuvataiteilija (s.1964), asun ja työskentelen Helsingissä. Uusimmat teokseni ovat veistoksia joiden materiaaleina olen käyttänyt löytämiäni esineitä. Näihin esineisiin olen tehnyt hyvin minimalistisia muutoksia tai lisäyksiä koska haluan säilyttää teosten materiaalit mahdollisimman itsenään, kunnioittaen niiden omaa olemusta ja luonnetta. Joissakin teoksissa voisi puhua materiaalien ja esineiden välttämättömästä kohtaamisesta toistensa kanssa. Tästä kohtaamisesta syntyy lähes primitiivisiä fragmentteja, esineiden mystisiä muodonmuutoksia.

I am a visual artist born in 1964 who lives and works in Helsinki, Finland. My latest works are assemblage which material are objects that I have found. To these objects I have made only minimum changes because I wanted to maintain the materials of the objects as themselves, respecting their own nature. In some work I could speak of the items’ inevitable encounter with each other. Of this encounter formed almost primitive fragments, mystical metamorphosis of the objects. 52


Vanha hääkuva / Old Wedding Picture 28 x 25 x 22 cm esinekooste / assemblage 2018

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Anu Osva https://anuosva.wordpress.com

www.kuvataiteilijamatrikkeli.fi/fi/taiteilijat/2066 Kuvataiteilija, maalaus, maalaus+video installaatiot, taide&tiede, asuu Helsingissä

Anu Osva on suomalainen taiteilija, jolla on tieteellinen tausta eläinjalostustutkijana (se on genetiikkaa, kvantitatiivista genetiikkaa, matematiikkaa ja vähän politiikkaakin). Hän työskenteli 10 vuotta tutkijana, mutta valitsi taiteellisen uran v. 1990. Kesti kymmenen vuotta, ennenkuin hän päätyi yhdistämään tieteellistä ajattelua ja havaintoja taiteelliseen työskentelyyn. Hänen maalauksissaan alkoivat sekoittua eri tasoina geneettinen informaatio ja väripintojen satunnaisuus. Kerroksissa esiintyi myös luontoaiheita sekä historiallisia ja kulttuurisia havaintoja. Vuonna 2005 Osva osallistui Koillis-Siperiaan kohdistuneelle tutkimusmatkalle. Tutkijoiden työn tavoite oli selvittää sosio-kulttuurisin menetelmin anutlaatuisen jakutiankarjan elinoloja ja uhanalaisuutta. Karja oli säilynyt n. 900 eläimen populaationa kolmessa syrjäisessä kylässä. Taideprojektissaan 'Jakutiankarja – löytöretki Siperiaan 2000-luvulla' Osva tarkastelee jakutiankarjaa ihmisen kumppanilajina. Kesällä 2015 hän liittyi Arktinen Arkki tutkimusryhmään, jonka työ on jatkoa jakutiankarja-projektille. Kotieläinten ja genetiikan rinnalla Osvan taiteellisen työn aiheena ovat olleet arktisten ja eteläisempienkin vesien plankton ja sen erilaiset elämänmuodot. Plankton on ja on ollut kriittinen tekijä planeettamme kehityksessä ja elämässä. Noin kolme tuhatta miljoonaa vuotta sitten sinilevien aineenvaihdunnasta kehittyi maapallolle happipitoinen ilmakehä. Juuri nyt, tänään plankton tuottaa arviolta 50-70 % ilmakehän hapesta.

Artist, based in Helsinki, painting, painting + video installations, art&science Anu Osva is a Finnish artist with scientific background in animal breeding (i.e. genetics, quantitative genetics and mathematics). She worked ten years as a researcher in this field, but chose to pursue an artistic career in 1990. It took another 10 years, before she began to combine scientific thinking and observations into her artistic work. In painings layers of genetic information were mixed with random layers of colours, cultural and historical observations as well as natural motifs. In 2005 Osva participated in a field trip to North-East Siberia together with a socio-cultural research team. The target was three isolated, small villages, where endangered, genetically unique Yakutian Cattle still lived as a population of 900 animals. Later, in her art project she was investigating this cattle as companion species and co-travellers for humans in harsh, arktic environment. In summer 2015 she joined research team Arktic Ark, which is a continutation to Yakutian Cattle project. Beside domestic animals her artistic focus has been in arctic waters, especially in plankton and its different lifeforms. Plankton is and has been critical to our planet in many ways. About three thousand million years ago blue-green algea induced oxygen rich atmosphere of our planet. Today phytoplakton is producing 50-70% of all oxygen in the atmosphere. 54


Kollektiivi / Collective 125 x 230 cm, 19 min maalaus + video installaatio / painting + video installation videolla mikroskooppinen levä Uroglena sp, Kilpisjärvi, Lappi, Suomi on the video microscopic algae Uroglena sp, Lake Kilpisjärvi, Lapland, Finland 2014

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Bambu Hellstedt www.bambuhellstedt.fi

www.kuvataiteilijamatrikkeli.fi/fi/taiteilijat/2024

Maalaukseni ovat lähempänä musiikkia kuin sanallista ilmaisua. Koska olen ”tässä-ja-nytihminen”, jolle 100% läsnäolo on kaikkein tärkeintä, työskentelyni tänä päivänä on improvisaatiota väreillä, nautintoa niiden lukemattomista sävyistä ja yhdistelmistä. Suuri luonto on lähtökohta ja ikuinen inspiraation lähde. Vielä voimakkaammin sitä tänä päivänä, jolloin sillä tuntuu olevan koko ajan pelottava uhka: lajien köyhtyminen ja ilmaston muutos, toisin sanoen kaiken katoaminen. Erityisesti istuessani kesämökillä luonnon keskellä, on vaikea uskoa todeksi sitä hiljaisuutta ja rauhaa, niin lähellä kotikaupunkiani Helsinkiä. Sama rauha istuttaa myös hädän siemenen: älkää antako tämän kauneuden ja luonnon rauhan kuolla.

My paintings are rather music than expression with words. Being ”a here-and-now personality”, who appreciates 100% presence more than anything else, improvisation with colours and their huge amount of shades, is today my natural working method. The big nature is the starting point and basis for inspiration forever. Even more today with climate change and the threat of extinction of so many more species. In other words the vanishing of all, vanity of the wonderful nature, which still now is free to enjoy for everybody. Especially sitting at my summer cottage in the midst of nature, it’s not easy to understand how can it be so quiet and peaceful and still so near Helsinki, my home town. At the same time the peace makes you panic: don’t let this beauty and peace of nature die away.

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Metsän musiikki / Music of the Woods 100 x 120 cm oil on canvas 2018

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Bjørn Eriksen www.eriksen.be

Bjørn Eriksen is born 1957 in Nyborg, Denmark. Only 9 years old a talented artist. First solo show at the age of 19. Educated at The Danish Design School 1986. Debut at Artists Fall Exhibition 1985 and since then participation at 10 juried shows. Solo and group shows in New York, Berlin, Cologne, Hamburg, Barcelona, Amsterdam, Faroe Islands and throughout Denmark. Received grants from The Danish Academy, The Danish Arts Council, Oticon Foundation and Toyota Foundation. Member of The Danish Association of Visual Artists. “Even when he aims for bad, Eriksen is very good...” Ed McCormack, Editor and Art Critic “He has strived to create an eternal sign of humanity,” to cite the 1993-2000 Weilbach encyclopedia of artists on Bjørn Eriksen. A lot has happened in Bjørn’s art and personal life since then. He has gone places. Today, he says about the Weilbach quote, “I found humanity instead.

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The Goddess Of Art Football 59


Bo Alström Bo Alström is a history painter, a uniquely modern representative of an age-old tradition. At the same time, he is a philosophical and profoundly intuitive modern artist. He empathizes with the experiences of people in distant times and places while maintaining a highlycalibrated sensitivity to color, form, and composition. Alström’s curiosity about human character and motivation, about past events, and about the world in which he lives finds expression in exhilerating images where abstraction and representation and description and imagination collide, interact, and harmonize.

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Machbeth II

NĂĽgonstans mot norr

Sub Luna

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Calina Pandele Yttredal pandele@online.no http://calinapandeleyttredal.com https://calinayttredal.wordpress.com

Calina Pandele Yttredal asuu ja työskentelee Oslossa, Norjassa. Hän aloitti taideopintonsa varhaisella iällä ja on tutkinut valon, värin ja tilan suhdetta maalausten, piirrosten, litografioiden, monoprinttien, valoveistosten sekä julkisten taidetilausten kautta. Yttredalin töitä on ollut näytteillä yksityis- ja ryhmänäyttelyissä niin Norjassa kuin ulkomaillakin, muun muassa New Yorkissa, Seattlessa, Pariisissa, Rio de Janeirossa, Osakassa, Roomassa ja Helsingissä. Eräs äskettäin valmistuneista taidetilauksista; "Finnmarkin maisema" on istutettu suoraan 10 metriä korkeaan lasijulkisivuun Kirkenesin lumihotellissa, pohjoisessa Norjassa. Valoveistos "Merihevonen" kohoaa viisi metriä meren ylle ja vaihtaa väriään veden ja taivaan muutosten mukaan, kaikkina vuodenaikoina. Yttredal on kirjoittanut useita kirjoja valosta, väristä ja muotoilusta. Hän on saanut lukuisia apurahoja, mukaan lukien Norjan valtiolta, Norjan ulkoministeriöltä ja Taideja liiketoimintapalkinnon tilatusta valotaideteoksestaan Oslossa; "Vuosi valonkierrossa". Hän on myös osallistunut radio- ja TV-ohjelmiin Norjassa ja ulkomailla. Hänen töitään on hankittu julkisiin instituutioihin, yksityisiin kokoelmiin ja niitä on myös hänen majesteettinsa, Norjan kuningatar Sonjan printtikokoelmassa.

Calina Pandele Yttredal lives and works in Oslo, Norway. Starting her art studies at early age, she has been exploring the relationship between light, colour, and space through her paintings, drawings, litographies, monoprints, lighting sculptures, public art commissions. Yttredal`s works has been shown in solo and group exhibitions both in Norway and abroad, among others in New York, Miami, Seattle, Paris, Rio de Janeiro, Osaka, Rome, Helsinki. Among art commissions she recently has completed “Landscape of Finnmark”, mounted directly on 10 m (393,7 in) glass facade at Kirkenes Snowhotel, Northern Norway. Another work is her lighting sculpture “Seahorse” rising five meters above the ocean and changing lighting scenarios according to the changes of the water and sky in all seasons. Yttredal is the author of several books on light, colour, design. She has received a number of grants, among others from the The Norwegian State, The Norwegian Ministry of Foreign Affairs, and “Art and Business Award” for her lighting art commission “A One Year`s Lighting Cycle” in Oslo. She has also featured in radio and TV programs, both in Norway and abroad. Her works have been acquired by public institutions, private collectors, and are as well included in the Print Collection of Her Majesty Queen Sonja of Norway.

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Myself In My Garden 150 x 150 cm mixed media on canvas 63


Carina Fogde Sweden carina@fogde.se www.fogde.se

Works with painting, photograph, sculpture, graphic and video art. Study HDK –Academy of design and crafts, Gothenburg University, BFA in metal Art from 2017. Art History, Södertörns University 2017. Art Therapist, 2011. Gothenburg University, teaching diploma for collage in art and design, 2004. Media LBS studio 2000. Lithography Academy, Tidaholm 1995-96. School of Art 87-89, 80-81. International Exhibitions in Museum and galleries the last years in Korea, Japan, Austria, USA, Canada, Norway, Italy, Holland, Germany, Serbia, Bosnia, Italy Hungary, Transylvania, 2015 in Italia Docet Laboratorium at the 56 Biennale di Venezia, Italy. Exhibition the last year in Sweden in Halmstad konsthall, 2018. Rånässalongen, Norrtälje 2016-18. Kungsbacka Konsthall, 2018. Hallands Kulturhistoriska Museum, 2017. Award: Varbergs Municipality Culture Prize 2015. Ferlinprize, Filipstads Municipality Culture prize 2015. First Prize in Abstract Painting, Italy 2015 and Leonardo first Prize in Painting, Italy 2011. She is a Member of KRO, The Swedish Artist ́s National organization. KC-West. Swedish Artist Organization, Gothenburg, Sweden. Varmlands society of Artists, Sweden. The Swedish Printmaker ́s Association/Grafiska Sallskapet. KKV -Varberg, Sweden. Tidaholms Collective workshop and lithographic Academy. Tidaholm, Sweden. KKV-Bohuslan, Centre for Culture, Artist ́s Workshop in Bohuslan. Gerlesborg Sweden. Works mainly with painting, photograph, sculpture, drawing, video art and graphic art. Carina lives close to nature and this is evident in her paintings. In her colour-saturated painting we find the selection of motifs that she draws from the environment she lives in. She wants to capture the light and create a relationship between differnet shapes. Her work often contains a restraned but expanisive power; this givesthe impression that each painting possesses an inherent energy of which we only see the surface. 64


Reflection 80 x 80 cm oil on canvas 2017

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Carmen Thompson

The artist Carmen Thompson lives in Rio de Janeiro where she investigates a variety of materials for the production of masks, sculptures, paintings, watercolors and drawings. Since 2008, she has experimented with etching, where she interferes subtly in the process of printing and through the use of color, in search for an alchemic opulence. Born in Minas Gerais, by the time she was 10 she was already living in Rio de Janeiro and had started her classical ballet studies. Later she has attended modern and contemporary dance courses. So, the artist arms herself with her dance experience as an instrument of her action, in the space and on the paper. She opens the eye to possibility, unique and unexpected, at the same time continuous like the movement and poetic like the drawing. Nowadays, the artist is in a new phase of works, whereby she handles photography as a starting point for development leading to a creative work on the captured images using digital art resources.

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Marielle 100 x 50 cm print on photographic paper 2018

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Cuscua

Cristina Pignatari Cuscua was born in SĂŁo Paulo and since her childhood she shares an interest for art. A great part of her story was lived in Italy where she was able to enrich her cultural baggage even more with the country's artistic influence. Her first work appeared in 2005. Self-taught, she uses a mixed technique to paint. In a genuine and unplanned manner, Cuscua paints "with her soul." The paintings that were once limited to a small corridor and a tiny room, now have contributed to successful exhibitions: "Rompante do meu ser" (December, 2016), first personal show of Cuscua, at Dalmau Studio; "SĂŁo Paulo inspires art" (January, 2017), at the Art Lab Gallery; "Every Expression" (March, 2017), at the Art Lab Gallery; "Love Inspires" (June, 2017) at the Inn Gallery; "Brazilian Art in the Contemporaneity" (June, 2017), collective exhibition and book launch at Inn Gallery; Collective exhibition "In Art" with tribute to Manabu Mabe, (August, 2017); "Brazil and it's Contemporary Art" (September, 2017), at the Ars Longa Gallery in Helsinki, Finland. In addition to benevolent auctions and decorative samples, Cuscua's works are currently in Brazil, USA and Europe. Always inspired by music and personal experiences, every piece created has a strong rhythm and flow that invites the observer to look deep into himself. Cuscua finds her work the perfect place to strip her soul and allow her deepest feelings to overflow.

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Acrilica sobre Tela 200 x 150 cm

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Daniel Laucas www.daniellaucas.com

www.instagram.com/daniellaucas Daniel Laucas is a new artist born and raised in Rio de Janeiro. He is a graphic designer, working for the fashion industry for over ten years, specially with silk painting. His fresh look over geometric abstractionism brings to light a brand new style called Conscientism, where the metric and conscious canvas' soul is assumed to be no longer a simple media and becomes co-creator of art. From this dialogue between the artist and the raw canvas rose the first collection entitled "Quantum Feelings", representations of particles of feelings in second dimension that emerge from other dimensions. Daniel Laucas é um novo artista nascido e criado no Rio de Janeiro. Graduado em design gráfico e trabalhando por mais de dez anos com design de moda e pintura de aquarela em seda. Seu olhar sobre o abstracionismo geométrico traz à luz um novo estilo chamado Conscientismo, onde a alma métrica consciente da tela é assumida para não ser mais considerada apenas como um mero objeto veículo e se torna cocriadora da arte. A partir desse diálogo entre o artista e a tela em branco surgiu a primeira coleção intitulada "Sentimentos Quânticos", que nos mostra representações de partículas de sentimentos em segunda dimensão emergindo de outras dimensões. 70


Astra 3 (energy particle in mystic emergency, partícula de energia em emergência mística) Quantum Feelings Collection / Coleção Sentimentos Quânticos 50 x 50 cm acrylic on canvas 2018 71


Eeva Tervala www.eevatervala.com Eeva Tervala: Ison aiheen, "Avaan sylini aamulle", pienehköt maalaukset ovat eräänlaisia vaeltelun aikana heitettyjä katseita, valoja, tiloja, liikettä ja tietoisuutta kulumattoman ajan luonteisesta hetkestä. Niistä on tullut kokemuksen muistijälkiä. Kun huomaa jotakin tapahtuneen, se on jo tapahtunut. Bridget Allaire: Jokin Eeva Tervalan maalauksissa herättää perimmäisen dna-koodimme. Väri on ilmaa jota hengitämme. Viiva piirtyy vahvana kuin halkeamat ikiaikaisessa kalliossa. Hänen työnsä tuovat esiin luonnon mielissämme, mutta jollain tavalla hän kykenee lumoamaan meidät näkemään myös ajattoman ajan pikakuvana mielentilastamme. Hänen näkemyksensä luonnosta on vakuuttava. Se asettaa meidät tuntemaan sen, ei niinkään näkemään sitä.

Eeva Tervala: Part of the grand theme “I Embrace the Morning”, these small paintings are quick glances, light effects, spaces and movement captured from my various wanderings. They are the consciousness of timeless time, the traces of memories. When one is aware of a moment, it has already happened, it lies in the past. Bridget Allaire: There is something mindful in Eeva Tervala’s paintings that awakens our primal code. The lines are engraved into the paint with a command of spirit and intent, like ancient cracks on primeval rock. Colour is atmosphere, in the truest sense of the world. Her works bring forth nature in our minds, but by some kind of enchantment she can capture time for us in a psychic photograph. Her grasp of Nature is arresting, it nails us down to feel rather than to see.

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Avaan sylini aamulle I, II, III, IV à 30 x 30 cm öljy plexille / oil on plex 2018

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Eeva-Liisa Isomaa

www.kuvataiteilijamatrikkeli.fi/fi/teokset/1724

Työskentelyni on historian kirjoitusta yksityisestä yleiseksi. Mitä muistamme; miten luemme historiaa? Haluan teoksissani sekoittaa aikatasot, rikkoa kausaliteetin ja luoda imaginäärisen tilan. Läpinäkyviin, kolmi-ulotteisiin, kerroksellisiin töihin limittyy eri aikatasoja. Teoksista muodostuu pirstaleinen kertomus; myös kolmekymmentä vuotta kestänyt tieni taiteilijana. Maisema avautuu ympärilläni laajana, siinä on pohjoisen maiseman avaruutta ja valoa. Usein lähtökohta on etäällä muiston tai muistamisen paikkaa ja hetkeä, mutta tempaa minut tutun veden äärelle. Teosteni nimi ja lähtökohta sijoittuu Roomaan; olin 1991 residenssissä Circolo Scandinavossa. Residenssijakson jälkeen syntyi teossarja ”Livian talo”, joka pohjautui Roomalaisen huvilan lattiamosaiikkeihin sekä omaan lapsuudenmaisemaani Ylitorniolla, Tornionjoki-laaksossa. Nyt olen palannut aiheeseen; Livian talo on muuttunut, painopisteet vaihtaneet paikkaa. Kerrokselliset mosaiikkitilat ovat muuttuneet ja rakentuneet uudelleen. Mutta yhä lähtökohdista löytyy tuttua. - Gianicolokukkulalta näkyvän maiseman avaruus muistuttaa lapsuuteni vaaramaisemaa.

Focus of my work is in history; from private to general history. What do we remember; how do we read history? In my works, I want to mix the timelines, break the causality and create an imaginary space. Transparent, three-dimensional, layered works overlap different time levels. The works are a fragmented story; also my thirty-year-old road as an artist. The landscape is wide open around me, it has the space and light of the northern landscape. Often, the premise is far away from the place and moment of memory or remembering, but it draws me to the familiar place. The name and starting point of my works are in Rome; I was in 1991 in Circolo Scandinavo and 2017 in Villa Lante. After the first residency period, a series of works were created as "Livia's House", which were based on floor mathematicians of the Roman villa and my own childhood landscape in Ylitornio, in the Tornionjoki valley. After Villa Lante residency period I have returned to the subject; Livia's house has changed, priorities have changed places. Layered mosaic spaces have changed and rebuilt. But still there is a familiar ground in starting points -the landscape of the Gianicolo hill reflects the dazzling landscape of my childhood.

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Livian talo / The House of Livia 66 x 95 cm pigmenttivedos filmille / pigment print on film 2017

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Eeva Valkeisenmäki Helsinki, Finland

www.finnishdesigners.fi/portfolio/eeva.valkeisenmaki

Kun keskittyy syvästi tekemään jotain mielenkiintoista, voi kadottaa ajan ja paikan tajunsa. Silloin minuuden rajat väistyvät taustalle ja voi kokea syvän rauhan tunteen. Tämä tunne lienee lähellä "mu":n konseptia japanilaisessa zen-meditaatiossa. On kuvailtu, että joskus meditaatiossa mieli ja keho putoavat pois, paljastaen todellisuuden oikean luonteen "mu":na, muodottomana potentiaalina ajan ja paikan tuolla puolen, joka manifestoituu jatkuvasti aistimaailmassa. Olen kokenut tyhjyyden ja minuuden vailla muotoa, kun pehmeä savi muotoutuu haluamaani muotoon. Olen kokenut sen myös joogatunnin lopussa, kun mieli on tyyni ja syvä hengitys rytmittää hiljaisuutta. Olen ollut jo vuosia kiinnostunut japanilaisesta kulttuurista. Työni poltan rakupolttona. Se on raju Japanista peräisin oleva tekniikka. Käytän krakleeraavaa lasitetta. Kun työt nostetaan ulos noin 1000-asteisesta uunista, teoksen pinta rikkoutuu ja näin syntyy kiinnostavia kuvioita. Tämän jälkeen työt laitetaan orgaanista ainetta sisältävään savustuspönttöön. Kun tämä aines syttyy palamaan, pönttö suljetaan, ja savu muuttaa lasittamattomat pinnat mustiksi. Tätä tekniikkaa käyttämällä jokaisesta työstä tulee uniikki, eikä lopputulosta voi täysin ennustaa. Sen sijaan tekijän täytyy antautua ja hyväksyä työn muuttuminen uudenlaiseksi polton ja lasituksen aikana. Prosessi saa väistämättä aikaan epätäydellisyyttä, säröjä ja rikkoutuneita muotoja jotka edustavat hyvin japanilaista wabi-sabi-filosofiaa, epätäydellisyyden kauneutta. Hyväksymällä ja arvostamalla ajan katoavaisuutta ja kaiken epätäydellisyyttä ja keskeneräisyyttä, voi kokea aivan uuden ja syvemmän kauneuden.

One can lose the sense of time and space while focusing deeply on doing something interesting; the boundaries of self yield to the background and a deep sense of peace is experienced. Perhaps the sensation is similar to the concept of mu in the Japanese zazen meditation. Sometimes, during the meditation, both mind and body “drop away,” thus revealing the essential nature of reality as mu – the formless potential beyond time and space that constantly manifests itself in the phenomenal world. I have experienced this when the soft clay transforms into forms that I want. Making ceramics is a meditative experience to me. I have also experienced these feelings after a yoga class, when the mind is calm and when my deep breathing creates rhythm in the silence. I have been interested in Japanese culture for many years. I use Japanese raku firing technique for my works. It is a rough technique. I am using a glaze, which crackles the surface after the works are removed from a 1000 degrees Celsius oven, thus creating interesting forms. After that the works are laid directly into a smoking pot with organic ingredients. The organic materials burn creating smoke, which turns the unglazed surfaces black. By using this technique, each work becomes unique, and one can never predict the final result. Instead, one has to surrender and accept that the work can change in the firing and glazing processes. The process inevitably creates imperfections, crackles and broken forms that embody the Japanese philosophy of wabi-wabi, beauty in imperfection. By accepting and appreciating transience of time, incompleteness and imperfection of all things, a totally new and deeper kind of beauty can be experienced. 76


Ebizo rakupoltto / raku firing

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Eija Keskinen Eija Keskinen työskentelee pääsääntöisesti piirustuksen tai piirustusta ja muita elementtejä yhdistelevien kokonaisuuksien parissa. Yhtä tärkeätä kuin viiva, on myös sen sisältämä, usein säästeliään sensitiivinen, väri. Keskinen piirtää huokoiselle akvarellipaperille johon piirtyvät sekä lyijykynä että puuväri eloisalla tavalla. Eija Keskisen työskentelyn sisältökysymykset liittyvät usein rakkauden- ja hyvyyden käsitteisiin. Viimeaikaisissa Pyhiä naisia kuvaavissa töissään innoitus on syntynyt kolmen katolisen kirkon kanonisoiman pyhimyksen, Pyhän Lucian, Pyhän Adan:n ja Pyhän Maria Giuseppe Rossellon, osin kuvitteellisista ja perimätiedon tarunomaisiksi muokkaamista elämänkerroista. Keskisen kuvat ovat myös kunnianosoituksia erilaisille naiskohtaloille, myös sellaisille, joissa elämästä puuttui yhteisön erityisesti ihannoimia piirteitä; poikkeuksellista lahjakkuutta, rohkeutta tai kauneutta. Eija Keskinen (1968, Tampere) asuu ja työskentelee Helsingissä. Hän on opiskellut Kuvataideakatemiassa (KuM), Vapaassa Taidekoulussa sekä Taideteollisessa korkeakoulussa. Hän on järjestänyt useita yksityisnäyttelyitä ja ottanut osaa ryhmä- ja yhteisnäyttelyihin vuodesta 1988. Keskinen on valmistanut neljä julkista taideteosta, joista tuoreimmat ovat marraskuussa 2015 valmistuneet Helsingin kaupungin ja Helsingin taidemuseon (HAM) tilaamat seinämaalaukset Lasten päiväkoti Ruskeasuolle. Hänen töitään on kotija ulkomaisissa kokoelmissa, mm Suomen Valtion-, Helsingin-, Vantaan-, Espoon- ja Tampereen taidemuseoiden kokoelmissa. Vapaa-aikanaan Eija Keskinen kutoo kangaspuilla mattoja, nauttii metsistä, katselee Kolmikätisen Jumalansynnyttäjän ikonia ja San Expediton pyhimyskorttia sekä uskoo ihmeisiin.

Eija Keskinen works mostly on drawings, or on entities combining drawing and other elements. As important as the line itself is the included, often sparingly sensitive, color. Keskinen draws on honeycombed aquarelle paper which gives a lively accentuation to both plain and colored pencil. The themes in Eija Keskinen's work are often connected to love and goodness. The inspiration for the recent sketches depicting holy women came from the legendary and often imaginary biographies of three female saints canonized by the Catholic church; St. Lucy of Syracuse, St. Ada of Le Mains and St. Maria Giuseppe Rossello. Keskinen's sketches also pay homage to different female fates, also to those that have lacked the special revered features such as exceptional talent, courage or beauty. *Eija Keskinen (1968, Tampere) lives and works in Helsinki. She has studied in The Academy of Fine Arts (Helsinki), The Free Art School  (Helsinki) and The University of Art and Design (Helsinki). She has arranged several private exhibitions and participated in group and community exhibitions since 1988. Keskinen has created four public works of art, the most recent of which are wall paintings in a children's day care center in Ruskeasuo commissioned by the Helsinki Art Museum (HAM). You can find her works of art in both Finnish and overseas collections among other places in the Finnish state collections and cities of Helsinki, Vantaa, Espoo and Tampere art museum collections. In her leisure time Eija Keskinen likes to make carpets on a loom, enjoy forests, look at the 3-handed God Birther icon and the saint card of St. Expedite. She also believes in miracles. 78


Pyhät / The Sacred - St. Lucia of Syracuse, St. Maria Giuseppe Rossello and St. Ada of Le Mains Triptych 3x 18 x 25 cm Pencil 2018

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Emerson Murakami www.emersonmurakami.com Instagram: @emerson.murakami

Emerson Murakami is a landscape photographer living in Sao Paulo - Brazil, graduated from the New York Institute of Photography. "For me, photography is a poetry written with light in a fraction of seconds." Emerson starts shooting when most people are asleep and usually in hard to reach places. Walking through the dark of night, at dawn your camera is ready to capture the soul of the twilight light. The mystery of their images floats between seeing, feeling and reason; a painting with light in a world of peace. The minimalist landscapes provoke calm, contemplation, meditation or inner peace, always with aesthetic elegance. His seemingly simplistic style registers only the essential elements for composing an image, for the layman, a reading of easy appreciation, and for the specialists, the interpretation of the soul of nature.

Emerson Murakami é um fotógrafo de paisagem que vive em Sao Paulo - Brazil, formado pelo Instituto de Fotografia de Nova Iorque. "Para mim, fotografia é uma poesia escrita com a luz numa fração de segundos.” Emerson começa a fotografar quando a maioria das pessoas estão dormindo e normalmente em lugares de difícil acesso. Caminhando durante a escuridão da noite, ao alvorecer sua câmera já está pronta para captar a alma da luz crepuscular. O mistério de suas imagens flutuam entre o ver, sentir e razão; uma pintura com luz num mundo de paz. As paisagens minimalistas provocam calma, contemplação, meditação ou paz interior, sempre com muita elegância estética. Seu estilo, aparentemente simplista, registra apenas os elementos essenciais para compor uma imagem, para os leigos, uma leitura de fácil apreciação e para os especialistas, a interpretação da alma da natureza.

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Deadvlei - The Star 2017

Deadvlei - A Tree In Mars 2017

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Gisa Nogueira Born in Rio de Janeiro, Gisa is a musician’s daughter. The one of the most famous of the thirties and forties, who have been playing with some of the biggest names of that time as Donga, Jacob do Bandolim and Pixinguinha, and used to be considered as a Master. Since her earliest childhood, she has been raised by her father’s guitar and later on became a singer and a composer as well. She registered two singles and one LP and composed some songs, which have been recorded by Clara Nunes, Beth Carvalho, Elza Soares, Eliana Pittman and also by her brother, the musician João Nogueira, who was her partner too. Then, she began to sing frequently in public. Since 2000, she also dedicated herself to Art and has featured several individual and collective exhibitions, with some works representing her homeland, her familiars and all that surrounds her, all that she used to observe daily, in her city and in her country.

Giza Nogueira iniciou sua carreira a princípio como compositora e cantora, influenciada por seu pai, considerado um mestre do violão, nos anos 30 e 40 por seus pares como Pixinguinha, Donga, Jacob do bandolim e outros. Giza tem composições gravadas por grandes nomes da música popular brasileira, a seguir: Clara Nunes, Beth Carvalho, Elza Soares e pelo saudoso João Nogueira, seu irmão e parceiro. Giza acaba de lançar um CD autoral e, hoje em dia, concilia a música com sua paixão pelas artes plásticas, que teve início no ano 2000, com um trabalho puramente intuitivo, em Óleo sobre Tela inspirado no Cotidiano da Cidade do Rio de Janeiro, onde vive, no artesanato de outras regiões brasileiras, com os vasos de barro e cestarias. Giza expôs em várias coletivas na Europa, Rio de Janeiro e São Paulo e tem participação em vários Anuários de Arte Nacionais e Internacionais.

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O Ouro da Terra 100 x 120 cm Mista/รณleo sobre tela e colagem 2016

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Glaucia Cupertino Glaucia Cupertino was born in Rio de Janeiro, Brazil. He studied plastic arts in Parque Lage from 1993 to 1996. In 1994 he made his first collective exhibition "90 hours of Painting" at the National Museum of Fine Arts, where the artists stayed inside the museum and every 20 hours rested only 4 hours. In 1995 he made the individual exhibition "Activity of Colors" in the Gallery of Fine Arts. In 1996 he made the individual exhibition "ExplosĂŁo de Alegria" at the Museu da Republica. 1997 made the individual exhibition "The two sides of the Hemisphere" in the Gallery of Arts Villa Riso. "In 1999 he made several individual exhibitions," Baroque Instinct "Cultural Center of the Post Office," Impressions "Cultural Center pascoal Charlemagne, "Look of Imagination" GBA 2001 made the individual exhibition "Movement of Colors" National Museum of Fine Arts. In 2002 individual exhibition "Art on the Avenue" in Back Ligths on Av. Das Americas.2009 collective exhibition "80 years of the Finnish Institute in Brazil" at the Museum of Modern Art and the Poleeni Museum, Finland.2010 "Art Fair" exhibition Carrousel de Louvre - Paris 2018 collective exhibition "AVA Arte Festval 2018" Osaka Japan

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Goretti Gomide Goretti Gomide. Lives and works in Belo Horizonte, Minas Gerais, Brazil. In her poetics, the paper, the coal, ground, paints, pencil, ink; those art materials form the dialogue with the world by her look. Each work is a thought that identifies, classifies and qualifies the tracing, the form and the volume, allowing a meaning, a deciphering of the symbolic, where it transports itself through places that function as mirrors of the memories, that goes and comes, that falls asleep in their soul. A look for the different possibilities of foment spaces of imagination; speaking of imagination as going beyond the canvas, something that inspires the construction of the new, the creation, the dream and the fantasy.

Goretti Gomide. Vive e trabalha em Belo Horizonte, Minas Gerais, Brasil. Em suas poéticas o papel, carvão, terra, tintas, lápis, nanquim; matérias da arte formam o diálogo com o mundo, por seu olhar. Cada trabalho constitui um pensamento que identifica, classifica e qualifica o traçado, a forma e o volume, permitindo uma significação, uma decifração do simbólico, onde transporta-se por lugares que, funcionam como espelho das lembranças, que vão e veem, que adormecem e acordam em sua alma. Um olhar para as diferentes possibilidades de fomentar espaços de imaginação; falando de imaginação como um ir além do real, algo que inspira a construção do novo, a criação, o sonho e a fantasia.

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Venter III 36 x 29 cm Nanking, coal, grafite, acrylic paint on PVC 2014

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Gustavo Kuklinski Gustavo Kuklinski was born in 1991, in Rio de Janeiro. He started his artistic life when eight years old, with encouragement and support from his entire family. In these early years, the artist worked an absolutely fluent language with his watercolor brushes. A few years later, math reasoning of programming codes began to occupy his mind. Gustavo started his undergraduate studies as Systems Analyst until he began to understand that art and mathematics at some point would merge.

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Hanna Holma www.hannaholma.net

Olen Helsingissä asuva ja työskentelevä taidegraafikko. Teen monotypioita, uniikkeja, maalauksellisia grafiikanvedoksia. Yhdistän kuviin nimitekstejä, jotka ovat usein pitkiä, jopa useiden lauseiden mittaisia. Teosteni aihe on elämänilo. Suuri, hiljainen elämä näkyvän takana. Elämä, elämänilo, on ainoa aarre jonka arvo pysyy. Sen menettää heti, jos joutuu eksyksiin ja pistää itsekkyyden elämän edelle. Elämänilo vaatii rakkautta elämään ja paljon työtä. Valmistuttuani taiteen maisteriksi Taideteollisesta korkeakoulusta vuonna 1996 olen pitänyt noin 30 yksityisnäyttelyä ja osallistunut lukuisiin yhteis- ja ryhmänäyttelyihin. Teoksiani on mm. Suomen valtion, Suomen eduskunnan, Rovaniemen Taidemuseon ja Oulun Taidemuseon kokoelmissa. Tärkeimpänä taidekoulutuksenani pidän Raisa Kaipaisen ja Torsten Rügerin Elämän taide -kursseja, joilla opettelin hiljentymistä ja elämänilossa pysymistä useita vuosia. Kursseilla löysin tavan nähdä ja tehdä kuvia, jotka ovat minulle virkistäviä, rehellisiä ja todellisia.

I´m a Finnish printmaker living and working in Helsinki. I make monotypes, unique, painterly graphic prints. In my work I combine text and image: the names of the works can sometimes be several sentences long. The theme in my work is joy of life. Great, silent life behind what can be seen. Life and the real joy is the only truly valuable treasure we can have. But one can loose it very quickly if one starts to put selfishness first and life second. Real joy of life requires love of life and a lot of work.

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Uudet ja raikkaat tuulet puhaltavat / New And Fresh Winds Are Blowing 60 x 60 cm Monotypia / Monotype 2017 91


Helka Immonen www.helkaimmonen.net Helka Immonen asuu Espoossa ja työskentelee Helsingissä. Hän on opiskellut Vapaassa Taidekoulussa ja Helsingin yliopiston piirustussalilla sekä suorittanut FM-tutkinnon Helsingin yliopistossa pääaineena taidehistoria. Helka Immonen on pitänyt useita yksityisnäyttelyitä ja osallistunut yhteisnäyttelyihin Suomessa ja ulkomailla mm. Italiassa, Ranskassa, Saksassa ja USA:ssa. Ulkomailla vietetyillä residenssijaksoilla on ollut suuri merkitys Immosen työskentelylle. Helka Immonen on Taidemaalariliiton ja Espoon Kuvataiteilijoiden jäsen. Maalaukseni syntyvät hitaasti kerros kerrokselta, sattuman ja intuition johdattelemina. Maalaan pääasiassa öljyväreillä akryylija kangaspohjille. Öljyväreissä minua kiehtoo värien syvyys ja öljyväreillä työskentelyn hitaus. Värit, niiden keskinäiset suhteet ja vuorovaikutus ovat maalausteni liikkeelle paneva voima. Teoksissani sisäiset kokemukset rinnastuvat usein arkkitehtuurin elementteihin ja muotoihin - tai luonnon ilmiöihin ja tapahtumiin - sään, vuorokauden ja vuodenaikojen vaihteluihin.

Helka Immonen lives in Espoo and works in Helsinki. She studied in Free Art School and The University Drawing School, Helsinki. She holds MA in art history from the University of Helsinki. Helka Immonen has held several solo exhibitions in Finland and abroad and has participated in numerous group exhibitions worldwide. Member of Espoo Visual Artists and Finnish Painters´ Union.

My paintings develop slowly in the course of time by chance and intuition, by adding several thin layers of colour one upon the other. I paint mostly with oil colours, I am fascinated by the depth and the slow painting process of oil colours. The starting point and driving force of my paintings are the relationships and the interaction of colours. In my works inner experiences and emotions are often related to physical events or objects - changes of the weather, passing of time - or visual elements and forms seen in architecture and in nature.

Photo: Anna Immonen-Muniz 92


Peilit / Mirrors 100 x 100 cm öljy kankaalle / oil on canvas 2017 Photo: Immo Mäkelä 93


Henrique Piantino Since 2006, Henrique Piantino painter and sculptor, has been conducting research using wood leftovers from his carpentry workshop and studio in the neighbourhood of Jardim Canada, in Nova Lima. He seeks inspiration for his sculptures sometimes in the orthogonal shapes of the designs of indigenous art, some other times in the organic shapes of the split leaf philodendron (monstera), or in the mirroring effects resulting from the wood the cut with a band saw. Once the wood is cut, the steel panels are chemically treated (oxidized and coated with varnish) to receive to wood part.

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Wood Carving on Oxidized Steel Henrique Piantino


30 x 30 cm

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Iiris Pessa Lives and works in Lohja, Finland.

Several solo- and group exhibitions since 1990. www.viartpessa.blogspot.com

Taulussa on yhdeksän kuvaa. Pyöreitä, kolmen rivissä päällekkäin. Ne muodostavat neliön, kuin ristinolla- pelin. Kuvat ovat kirjavissa kehyksissä, kaikki erilaisia. Lapsia, ratsumiehiä, vihreitä kasveja, vettä, maisemia. Ihmisiä. Mustaa yötä. Kirkasta, punaista, syvää sinistä. Taulua katsotaan riviltä toiselle. Mutta ei ole ensimmmäistä kuvaa. Tai jos haluat, ensimäinen voi olla viimeinen, keskellä, ylhäällä tai alhaalla. Me olemme eksyksissä. Mutta minähän vain halusin näyttää, miten rakennamme ajatuksemme, miten teemme niistä totta.

There are nine pictures on the tableau. They are round, in lines of three, on top of each other. They form a square, like a game. The pictures are colourfully framed, all different, bright, focused colours: children, men riding, green plants, water, landscape. People. Black night. Light, red, deep blue. The tableau is viewed line by line from one side to the other. There is no first picture. If you want, the first one can be the last one, the middle one, up or down. Therefore we are lost. But I only wanted to show how we build our thoughts in order to realize them. I.P.

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First Price 90 X 90 cm Üljyväri & tempera kankaalle / oil and tempera on canvas 2017 97


Ilona Cutts www.ilonacutts.com info@ilonacutts.com

Kun kuulin viimeisen valkoisen uros sarvikuonon "Sudanin" kuolemasta Keniassa sijaitsevassa Ol Pejeta Conservancy -järjestössä, olin syvästi surullinen ja koskettanut. Mitä se sanoo meistä, ihmisinä, kun kohtaamme sellaisten mahtavien alalajien kuten valkoinen sarvikuono kuolemassa sukupuuttoon, johtuen jatkuvan salametsästyksen vaikutuksesta? Miten voimme ylläpitää terveellistä ekosysteemiä, jos salametsästys ja elinympäristöjen tuhoaminen jatkuu niin hälyttävään tahtiin? Terveet ekosysteemit ja ympäristö ovat välttämättömiä ihmisten itsensä sekä muiden organismien selviytymiseksi. Ekologinen epätasapaino ja luonnonvarojen ehtyminen on uhka ihmisen elonjäämiseen ja itse maan pelastamiselle. Se on kilpailu aikaa vastaan. Meidän on estettävä tämä tapahtumasta. Maalaukseni "Viimeisen sarvikuonon tanssi" on kunnioitus sarvikuonojen taistelua selviytymiseen herkässä maailmassamme. Ilona Cutts - Bio Ilonan maalaukset keskittyvät antropomorfisiin olentoihin tai tyttömäisiin hahmoihin, joita ympäröivät epämääräiset symboliset ja eteeriset merkitykset. Hänen kerronnallinen tarinointi on sekä söpöä että julmaa, joka paljastaa hänen omat henkilökohtaiset näkemyksensä ihmisen ja luonnon herkästä suhteesta. Hänen kiinnostuksensa ajan käsitteistä ja "ajattomuudesta" ilmenee hänen maalauksissaan, lineaarisen ajan rinnalla, verrattuna henkiseen ajallisuuteen. Koska lineaarinen aika lakkaa olemasta, "ylitämme", menemme rinnakkaiseen maailmaan, jossa ei ole kipua tai surua, vain loputtomien mahdollisuuksien maailma. Hän kutsuu sitä lumoavaksi maailmaksi (The Enchanting World). Ilona s.1972 diplomaattiselle perheelle ja hänellä on monikulttuurinen kasvatus. Ilona suoritti loppututkinnon Kankaanpään Taidekoulusta ja Central Saint Martins College of Art and Design Lontoo, U.K. Ilonan maalauksia on esillä kansainvälisesti tärkeissä kokoelmissa, sekä Oulun nykytaiteen museossa Suomessa. Hän asuu ja työskentelee Atlanta, GA. U.S.A.

When I heard about the last male white rhino “Sudan’s” death in the Ol Pejeta Conservancy in Kenya, I was deeply saddened and touched. What does it say about us, as humans when we face the extinction of such magnificent subspecies as the white rhino and others, due to the effect of ongoing poaching? How can we sustain a healthy ecosystem if poaching and habitat destruction continues at such alarming states? Healthy ecosystems and environments are necessary to the survival of humans themselves as well as other organisms. Ecological inbalance and the depletion of natural resources is a threat to our own survival and the survival of earth itself. It’s a race against time. It’s up to us to stop this from happening. My painting “The dance of the last rhino” honors this struggle on this delicate Earth of ours. Ilona Cutts - Bio Ilona’s paintings center on anthropomorphic creatures or girl like figures, surrounded by objects of obscure symbolic and ethereal meaning. Her narrative storytelling is both cute and cruel, disclosing her own personal views on the delicate relationship between man and nature. Her interest in the concepts of time and “timelessness” are evident in her paintings, a juxtaposition of linear time, versus Spiritual time. As linear time ceases to exist, we “cross over”, entering a parallel world where no pain or sorrow exist, only a world of endless possibilities. She calls it her Enchanting World. Ilona b.1972 to a diplomatic family, has a multicultural upbringing. With a BA in Fine Arts Degree from Kankaanpää Art School, Finland and Central Saint Martins College of Art and Design, London, U.K. Ilona’s paintings are exhibited internationally and are found in important collections such as the Oulu Museum of Modern Art in Finland. She lives and works in Atlanta, GA. U.S.A.

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The Last Dance of the Rhinocheros 70 x 80 cm oil on canvas 2018

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Ilona Rytkönen Taidemaalari Keski-Suomesta / painter from Central Finland www.ilonas.fi

Taiteeni yleisin motiivi on ihminen, mutta äskettäin olen halunnut maalata myös maisemia. Usein haluan maalata metaforisella tulkinnalla. En ole kiinnostunut tekemään ihmisten tai maisemien dokumentointia, vaikka maalauksissani on myös joitain realismin osia. Haluan maalata enemmän kuin löydän todellisesta elämästä. Suomalainen taidekriitikko Hannu Castrén on määritellyt taidesuuntauksekseni maagisen realismin. Öljyvärimaalaukseni ”Puuplaneetta/Planet of trees” on huuto metsiemme puolesta, jottei tulevaisuudessa ainoa tuntemamme metsä olisi vain mielikuvitusmetsä. Tärkein tekniikkani on öljyvärimaalaus, mutta joskus käytän kuivapastelleita, mustetta, lyijykynää ja puupiirrostekniikkaa.

The most common motive in my art is a human being, but recently I have wanted to paint landscapes too. Often I want to paint by metaphoric way. I'm not interested in to do documenting people or landscapes, although there is some realism parts in my paintings too. I want to paint something more than I can find in real life. Finnish art critic Hannu Castrén has defined my art style to magical realism. My oil paintings "Puuplaneetta/Planet of Trees" is a cry for our forests. I hope that in the future the only known forest will be not just an imaginary forest. My main technique is oil painting, but sometimes I use pastels, ink, pencil and woodcut. 100


Puuplaneetta / Planet of Trees 110 x 130 cm oil on canvas 2018

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Inka-Maaria Jurvanen s. 1980 Espoo

Photo: Santtu Särkäs

www.jurvanen.com

Ajan elementti on piirustuksessa tärkeä. Työskentelyni ja teokseni ovat kommentoivia. Mutta samanaikaisesti tekemisen akti ja teos muuttuvat myös todistusaineistoksi. Etäännyttäminen on mahdollista vain tiettyyn pisteeseen asti. Jotta voimme suojella ja kunnioittaa luontoa, on tunnistettava ahneuden, halun ja välinpitämättömyyden voima ja läpitunkevuus. Sen katsominen ei miellytä. Inka-Maaria Jurvanen (s.1980) on helsinkiläinen kuvataiteilija. Hän valmistui Taidekoulu Maasta 2008. Sen jälkeen hänellä on ollut useita yksityisnäyttelyjä Suomessa ja USAssa. Jurvasen teoksia on ollut esillä kuratoiduissa ryhmänäyttelyissä Suomessa, Virossa, USAssa ja Espanjassa.

The element of time is important in drawing. For me making art is commentary by nature. But at the same time the act of making and the artwork itself transforms into evidence. Distancing is possible only to a certain point. In order to protect and respect nature, we must recognize the all-piercing power of greed, desire and indifference. It is not a pleasant thing to see.

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Inka-Maaria Jurvanen (b.1980) is a visual artist from Helsinki, Finland. She graduated from Art School Maa in 2008. Since then she has had multiple solo exhibition is Finland and the USA. Her work has been on display in curated group exhibitions in Finland, Estonia, USA and Spain.


Yksi / One 70 x 90 cm Lyijykynä ja akryyli vanerille / pencil and acrylic on plywood 2014

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Ipi Kärki Taidemaalari, yliopistonlehtori / Painter, University Lecturer

Photo: Nicklas Warius

www.ipikarki.com Väristä ja valosta

Maalaaminen on minulle prosessi, johon luonnon kokemus antaa aiheen ja sisällön. Luonto ja kasviaiheet ovat aina olleet minulle merkityksellisiä. Näissä maalauksissa on tunnelma ja valo etusijalla. Olen tavoitellut aikaa ja ajattomuutta samanaikaisesti. Värillä tavoitan valkoista talven valoa, olen tallentanut tuon muistikuvan - maalata aineellisen aineettomaksi. Väri on säilynyt minulle salaisuutena. Väri peittää, toisinaan paljastaa. Värillä on voimakas tunnelataus, joka tulee havaittavaksi värien keskinäisissä rinnastuksissa. Väri elää, muuttuu, taipuu ja taistelee. Se vetää puoleensa. Värissä on voimaa ja energiaa. Of Colour and Light For me painting is a process in which the theme and content is inspired by the experience of nature. Nature and plant themes have always been meaningful to me. In these paintings, atmosphere and light take preference. I have pursued time and timelessness simultaneously. With colour, I seek the white light of winter; I have recorded this mental image – to paint the material immaterially. Colour has been kept secret to me. Colour covers, sometimes reveals. Colour has a powerful emotional charge, which becomes apparent when colours are placed next to one another. Colour lives, changes, bends and fights. It attracts. In colour, there is a strength and vigor of life. 104


Old Stump 100 x 100 cm oil on canvas 2018 Photo: Jussi Tiainen

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Iria Čiekča Schmidt

Aiheet Iria Čiekča Schmidt´in taiteeseen tulevat pohjoisen luonnosta sekä suomalaisesta kulttuurista, mutta taustalla on myös useiden vuosien taidekoulutus. Čiekča Schmidt on syntynyt lähellä Pohjoista Jäämerta. Taideopiskelut toivat hänet Etelä-Suomeen ja ulkomaille. Hän ei ajatellut omaa alkuperäänsä, kunnes työskenteli Hollannissa ryhmässä, joka tutki etnisiä taiteita. Tällöin hän löysi oman taustansa ja on tehnyt useita maalaussarjoja saamelaisuudesta.

Iria Čiekča Schmidt´s art comes from the northern nature and Finnish culture but also the number of years of art education. Čiekča Schmidt was born near Arctic Ocean. The art studies took her to the south and abroad. She did not think about her own identity, until working with the group exploring etnic arts in Holland, she encountered her own background and made a series of paintings of Sámi.

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Cozumei Installation diameter 250 cm wood and glass

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Jaakko Rönkkö jaakkoronkkoart.wordpress.com Syntynyt 1947 Vieremällä Taiteeni sisältö on piirtäminen, väri ja tila. Toteutan tätä viettiä piirros- ja guassisarjoin sekä tilapiirroksina. Tekemiseni on tilassa liikkumista, jonka sisältö on kertomus omasta ruumiistani ja sen dynamiikasta. Kaksiulotteiset teokseni ovat kirjoitusmaisia, spontaanin etsinnän tuloksena syntyneitä käsialanäytteitä. Kolmiulotteiseen tilaan tehdyt tilapiirrokset ovat intensiivisiä perfpormansseja, jotka taltioidaan ja esitetään editoituina näyttelyissäni.

Born 1947 at Vieremä, Finland The main themes of my art are drawing, colour and space. I make this instinct visible through series of drawings, gouaches and wall-drawings. My activity is moving in a given space telling stories of my body and its dynamics. My two-dimensional works are something that you can describe as spontanious writing. My wall-drawings are performances that are recorded and shown in my exhibitions.

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Käsiala / Handstyle 80 x 180 cm Lyijykynä puulle kiinnitetylle paperille / pencil on paper on wood 2018

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Janna Syvänoja www.jannasyvanoja.com Olen helsinkiläinen kuvataiteilija, kuvanveistäjä, korutaiteilija, tekstiilitaiteilija. Käytän teoksissani paljon luonnosta keräämiäni materiaaleja, joissa näkyy ajan ja olosuhteiden – elämän jälki. Kokoan paloista kuvan, joka paljastaa materiaalin menneisyyden, mutta nostaa siitä esiin uuden tulkinnan.

”Broken Rainbow” Koivun tuohen kerroksissa löytyi rikas väripaletti. Aivan kuin koivua ympäröivä maisema ja sääolosuhteet olisivat tatuoituneet sen iholle. Ihmettelin toisiinsa liukuvia värejä, kuin sateenkaaren palasia. Siltä ne tuntuivatkin, läpikuultavalta silkiltä, sateen viivatkin tallella. Tarinan mukaan vedenpaisumuksen jälkeen Nooa astui ulos arkista ja näki sateenkaaren. Se oli Jumalan viesti, lupaus siitä, että elämä maan päällä voi jatkua. Herkillä luonnonmateriaaleilla työskentely pitää hereillä ja auttaa näkemään. Ei aarre ole jossakin sateenkaaren päässä. Se on tässä. Yhteinen aarre, maanpäällisen elämän mahdollisuus kaikille luoduille tällä kauniilla planeetalla. Itsestään selvä, kyseenalaistamaton, loputtomiin jatkuva, kaiken kestävä, uusiutuva, korjautuva, vai?

I am a visual artist, sculptor, jewellery artist and textile artist living in Helsinki. In my works I frequently use materials that I have collected from nature, which show the traces of time and circumstance, the life. From these pieces I form a picture which reveals the past of the material, but also gives it a new interpretation.

”Broken Rainbow” In the layers of the birch bark I found a wide range of colours, just as if the surrounding landscape and the weather conditions in its past had been tattooed on its skin. I was admiring the colours blending into each other, like pieces of a rainbow. That is also how they felt like, translucent silk, even with the lines of rain present. As the story of the great flood tells, Noah stepped out of the ark and saw the rainbow. It was a message from the God, a promise that life on earth could continue. Working with the sensitive materials from nature keeps me awake and helps me to see. The treasure is not somewhere at the end of the rainbow, it is here. Our shared treasure that gives all creatures a chance for living on this beautiful globe. Self-evident, unquestionable, endlessly continuing and lasting, renewable, or is it? 110


Photo: Pertti Nisonen

Broken Rainbow 150 x 300 cm birch bark on linen 2015

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Jantus

Jantus is an artist from Argentina that right now lives in Barcelona. He has exhibited in Buenos Aires, Barcelona, Tokyo and London. The paintings he has created for BELA Biennial have been produced with acrylic paintings that are not harmful for human health or environment. These means that the materials he uses respect norms of security such as REACH or Proposition 65 (California), in between others. At the same time, the paintings have been produced with very little use of water (water was only used for cleaning brushes but not for mixing color). Moreover, Jantus has decided to paint over linen - linen also being an ecofriendly material. Finally, the artworks are exhibited without any kind of wooden frame. Jantus began painting with this materials after asking himself a very contemporary question: "How do you paint more sustainably?". He and his team are still looking forward to discovering a more sustainable way of painting.

Jantus es un artista de Argentina que vive en Barcelona. Ha expuesto en Buenos Aires, Barcelona, Tokyo y London. Las pinturas que ha creado para la BELA Bienal fueron producidas con pinturas acrílicas que no son peligrosas ni para el humano ni para su ecosistema. Esto significa que dichos materiales respetan las normas de seguridad tales como REACH o la Proposición 65 de California, entre otras. Al mismo tiempo, las pinturas fueron realizadas con muy poco uso de agua (el agua fue solo utilizada para limpiar los pinceles pero no para mezclar colores). Además, Jantus ha decidido pintar sobre lino - un material ecofriendly. Finalmente, las obras están expuestas sin ningún tipo de marco de madera. Jantus comenzó a pintar con éstos materiales después de preguntarse a sí mismo: "Cómo puedes pintar de manera sustentable". Él y su equipo continúan buscando una manera de pintar más sustentable."

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Toxiconderon 144 x 208 cm acrylic on linen 2018

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Jari Järnström jari.jarnstrom@welho.com

jarijarnstrom.weebly.com www.kuvataiteilijamatrikkeli.fi/fi/taiteilijat/1834

Jari Järnström (s. 1960 Lahdessa) on valmistunut kuvataiteen maisteriksi 2003 Kuvataideakatemiasta. Asuu ja työskentelee Helsingissä. Vuodesta 1989 hän on pitänyt aktiivisesti yksityisnäyttelyitä ja osallistunut yhteis- ja ryhmänäyttelyihin niin Suomessa kuin ulkomaillakin. Yksityisnäyttelyitä on ollut mm. tm•galleriassa, Galleria Bakeliittibambissa, Galleria Uusitalossa, Galleria Brondassa, Galleria Saskiassa, Galleria Katariinassa ja Berliinissä Galerie Pleikussa. Viimeisin yksityisnäyttely hänellä oli Galleria Aarnissa Espoossa helmikuussa 2018. Ulkomaisia yhteis- ja ryhmänäyttelyihin hän on osallistunut Ruotsissa, Virossa, Venäjällä, Latviassa, Tanskassa, Saksassa, Ranskassa, Englannissa, Portugalissa, Italiassa, Unkarissa, Brasiliassa, Japanissa ja Yhdysvalloissa. Järnström aloittaa maalaustyöskentelyn action painting tekniikalla jolla saa aikaan vapaata abstraktiota. Värit saavat valua ja levitä vapaasti. Tämän kerroksen päälle hän jatkaa öljyväreillä hitaammin ja harkitummin. Hän käyttää maalaustensa malleina kuvia internetistä sekä myös elävää mallia. Työskentelyssään hän ottaa huomioon kestävän kehityksen mm. valitessaan ympäristöä vähemmän kuormittavia maalausmateriaaleja.

Jari Järnström (born 1960 in Lahti) graduated as a Master of Fine Arts from The Academy of Fine Arts in Helsinki 2003. He lives and works in Helsinki. Since 1989 has had solo exhibitions actively and has participated in joint and group exhibitions both in Finland and abroad. There have been private exhibitions, for example TM•Gallery, Gallery Bakeliittibambi, Gallery Uusitalo, Gallery Bronda, AVA Gallery, Gallery Saskia, Gallery Katariina and in Berlin Galerie Pleiku. His latest private show was at Gallery Aarni in Espoo in February 2018. He has participated in foreign joint and group exhibitions in Sweden, Estonia, Russia, Latvia, Denmark, Germany, France, England, Portugal, Italy, Hungary, Brazil, Japan and the United States. Järnström start his working process by making the background with action painting technique to generate vivid abstraction. The colours will run and spread free. On this layer, he continues with oil colours more slowly and attentivity. He uses images as pictures from internet, as well as live models. In his work, he takes into account sustainable development among other things choosing environmentally friendly painting materials. 114


Unelma väreistä ja vapaudesta / A Dream of Colours and Freedom 120 x 100 cm akryyli, spraymaali ja öljy kankaalle / acrylic, spray paint and oil on canvas 2018

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Jertta Ratia Helsinki, Finland

jertta.ratia@gmail.com, teoksia / works: taidelainaamo.fi

Taidekoulutus 2003 – 2004 Vapaa taidekoulu 1997 – 2008 Mestariluokka, Helsingin taiteilijaseura Maalaan ekspressiivisiä, värikkäitä ja voimakkaita teoksia akryylillä ja öljyllä kankaalle. Parhaiten saavutan päämääräni suurissa teoksissa, joissa fyysinen ulottuvuus on läsnä. En halua jäljitellä näkyvää todellisuutta, vaan esitän sisäisiä näkyjä, rakenteita, jotka noudattavat omia lakejaan. Silti luonto, erityisesti Suomen metsät ja järvet, kylmä meri, kaikki ympärillä oleva, kaikki kokemukseni imponoivat minua. Olen joka hetki löytöretkellä maailmassa. Taide, kuvataide, musiikki ja kirjallisuus ruokkivat minua. Runoista saan usein nimen maalaukselleni, mutta en halua nimienkään ohjaavan liikaa katsoja. Yli 20 yksityisnäyttelyä vuodesta 2002 ja yhtä monta yhteisnäyttelyä. Jäsenyydet: Taidemaalariliitto (kokelasjäsen), Helsingin Taiteilijaseura, Viipurin Taiteilijaseura.

I paint expressive, colourful and strong paintings with acrylic and oil on canvas. I get closest to achieving this goal with large works, where the physical dimension is present. I do not wish to emulate the observable reality, but instead I display inner visions, structures, which obey their own rules. Nevertheless, nature, especially Finland’s lakes and woodlands, the cold sea, everything around me and all my experiences influence me. I am costantly on a voyage of discovery. Art, visual art, music and literature feed me. Poems often provide a name for my paintings, but I do not want them to guide the viewer too much. Over 20 solo exhibitions from 2002 and as many group exhibitions. Membership: the Finnish Painters’ union (candidate member), the Helsinki Artists’ Association, the Vyborg Artists’ Association. Artistic education 2003 – 2004 Free Art School 1997 – 2007 Master class, oil painting, Finnish Painters’ Union Study trips 2016 St. Petersburg, residence, Russia 2016 Sardinia, Italy 2004 Valaam, Russia

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Dusting Yellow 120 x 80 cm acrylic and oil on canvas 2017

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Jonna Johansson www.jonnajohansson.net Kuvataiteilija Jonna Johansson (s.1975) asuu ja työskentelee Helsingissä. Hän on valmistunut kuvataiteiden kandiksi (BA) Brightonin yliopistosta (UK) ja kuvataiteiden maisteriksi (MFA) Kuvataideakatemiasta (maalaustaiteen osasto). Johansson käsittelee teoksissaan ihmisyyttä laajasti maalauksen ja maalausinstallaation keinoin. Kiinnostus ihmisyyden teemoihin muodostuu yleensä hänen omasta henkilökohtaisesta kokemuksesta. Tyypillistä Johanssonin työskentelylle ovat teemakohtaiset projektit tai teossarjat. Lähtökohtana oleva henkilökohtainen itsetutkiskelu etääntyy taiteellisen prosessin edetessä ja valmistuessa, näin ollen taiteen merkitys saavuttaa monimuotoisempia tasoja katsojalle. Jonna Johanssonin maalauksissani vuorottelevat spontaani voimakas ilmaisutapa ja tarkkaan mietityt kompositiot. Vuosien työskentelyn aikana Johanssonin ominaisiksi materiaaleiksi ovat valikoituneet öljy sekä akryyli- ja alkydimaalit. Maalauksissa näkyy jännite, joka syntyy käyttämällä sekä pensselityöskentelyä että spontaania roiske- ja lusikkatekniikkaa samalla maalauspinnalla. Maalausinstallaatioissa Johansson laajentaa maalauksia kehyksissä olevien maalausten ulkopuolelle. Yleisesti ottaen teoksissa voi nähdä myös viitteitä pop taiteeseen. Maalaukseni käsittelevät kestävää kehitystä sosiaalisen kestävyyden kautta. Pohdin teoksissani ihmisarvoa ja ihmisten välistä eriarvoisuutta, joka ilmenee oikeudenmukaisuutena, tasa-arvona ja myötätuntona. Jokainen ihminen on itsessään arvokas ja jokaisella ihmisellä tulisi olla samanlaiset mahdollisuudet tasa-arvon toteutumiseen.

Jonna Johansson (b.1975) is a visual artist based in Helsinki, Finland. She has studied at the University of Brighton, England (BA) and Finnish Academy of Fine Arts in Helsinki, (MFA) (painting department). Johansson works mostly with painting and her works have been exhibited at several exhibitions in Finland as well as other places in the world. In her art, Jonna Johansson deals with humanity on a wide range. By means of painting and installation she takes a position on the global phenomenon. As a result, her art is filled with versatile, meaningful pondering as well as visual brilliance. Her works can be interpreted from different points of view. Johansson paints the everyday realism, even its reverse side, either as it is or covered in a pastel dream. She uses oil, acrylic and alkyd paints, and her clear forms and bold colours relate to fantasies. Johansson’s works are aesthetically wonderfull, and her works capture the viewer easily due to the powerful use of colour and brush.

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William Syndrome Girl 127 x 100 cm oil on canvas 2018 119


José Vasconcellos www.josevasconcellos.com JOSE VASCONCELLOS is one of the most important Brazilian painter live in Brazil, Denmark and Spain. After the international art critic opinion JOSE VASCONCELLOS is part of the Fantastic Realism and the Modern Symbolism. His color and his exceptional teknic give VASCONCELLOS one place in the most important group of artist use the spatula and a very special use of pigments and several resine. His universe of symbols result from his dreams and from the memory of his children's time. VASCONCELLOS have his work in many Art Galleries ( Helsinki, Madrid, Switzerland, Berlin, Mexico City, Brazil, Buenos Aires, Dublin, etc) and Art Fairs and Museums. And he received importants prices included the Queen Ingrid Rejse Legat, the Jyllands Post Kunst Legat and the Gold Medal of the Bienal das Artes in Brasilia

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JOSE VASCONCELLOS é um dos mais importantes artistas brasileiros. Vive no Brasil, na Dinamarca e na Espanha. Segundo a opinião da crítica internacional VASCONCELLOS integra o grupo do Realismo Fantástico e do Simbolismo Moderno. Seu universo pictórico e sua técnica excepcional coloca VASCONCELLOS como parte do grupo de artistas que trabalham o uso da espátula e o emprego de pigmentos misturados à resina vegetal. Seu universo de símbolos resulta de seus sonhos essa memória de seus tempos de criança. Mas também dos sonhos de cada um nos tempos atuais.VASCONCELLOS tem sua obras em permanente exibição em várias galerias de arte em todo o mundo( Helsinki, Madrid, Barcelona, México City, Suissa, Dublin, Berlim e outras)além de Internarional Artfair e Museus. E já foi agraciado com vários prêmios internacionais entre eles o Rainha Ingrid Rejselegat, o Jyllands Post Kunstfond e a Medalha de Ouro da Bienal das Artes em Brasília.


Serie: Dreams and Archetypes Memory I Pigment of Rousignon and Harpics on canvas

Serie: Dreams and Archetypes Memory II Pigment of Rousignon and Harpics on canvas

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Joseph Figorelle Passages. Beyond presenting us a sculptural set of intense density and greatness, the artist Joseph Figorelle leads us to consider that in such circunstances between the organic material and the artistic project the human existence is also registered, which is related to the time finity. The time aspect has a strong paradox that we should consider, it means, the humanes produce dates objects beyond their own time and, in this case, the objects replace their desappearance.

PERCURSOS " ... Para além de nos apresentar um conjunto escultório de intensa densidade e grandeza, o artista Joseph Figorelle nos conduz ao raciocínio de que nessas circunstâncias entre o material orgânico e o fazer artístico está registrado, também, a fragilidade da existência humana que se relaciona com a finitude no tempo. O aspecto temporal possui um forte paradoxo que devemos considerar, isto é, o de que o homem produz objetos datados para além do seu próprio tempo e, nesse caso, os objetos suprem o seu desaparecimento." João Bosco Millen

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Juha Sven Korhonen Olen graafikko, maalari, tilan ja maiseman kiehtovuuden tarkastelija. Elän silmieni kautta. Taiteilijana olen toiminut viisi vuosikymmentä, joka alkoi maalausnäyttelyllä yksityiskodissa Helsingissä vuonna 1968. Koen itseni maisemamaalariksi vaikka työni ovat verrattain abstraktisia. Olen syntynyt 1946 ja opiskellut graafista taidetta Taideteollisessa oppilaitoksessa Helsingissä. Asun ja työskentelen Helsingissä.

I am a graphic artist, painter and observer of the fascinating nature and space. I live through my eyes. I have worked as an artist for five decades. It started with a painting exhibition in a private home in Helsinki in 1968. I feel myself as a landscape painter, though my works ar for the most abstract. I was born in 1946 and studied graphic art in the artistic school in Helsinki. Nowadays I work and live in Helsinki. 124


Metsä / Forest 100 x 70 cm akryyli kankaalle / acrylic on camvas 2018 125


Julio Leite Project for a New World The present series embraces Art and politics within a conceptual framework. The global context brings up the ever present relationships between man and nature. The alteration of the world maps lies at the heart of the question proposed by the "Project for a New World".At the heart of the project there lies the principle of various countryflags appropriation and its symbolic displacement via an artistic interference made possible by the exchange of flag colors. These projected variations have the purpose of suggesting changes within the structure of a worldwide consumer-oriented society impacting a broad system which is directly related to planet sustainability. The goal of this artistic process, therefore, aims at the appropriation and alteration of the national flags of countries as a way of subverting the order presently based on the tradition of a patriotic symbol. In Project Japan, for example, the yellow background and the blue circle stand against the white background and the red circle as in the original format.In the Project Switzerland,a dark blue background and a light blue central cross contrast with the original format which comprises a red background and a white cross. Julio Leite - Campina Grande-Pb, 1969. The artist lives and works in Campina Grande – Paraiba - Brazil Julio graduated in Journalism from the State University of Paraíba – (UEPB). He has been engaged in visual arts since the 1990s. He was a student at the Artistic Residency Program of the Armando Alvares Penteado Foundation in São Paulo. He took part in several art-exhibitions – both in Brazil and abroad. Among these: the Havana Biennale,the 5th Curitiba Biennale; the 2ndVenezuela Biennale; Visual Acts of Funarte (Brasilia); the Color of Brazil (Rio Art Museum) - Rio de Janeiro; Word-Poem (France-Brazil House) - Rio de Janeiro; Art Pará - Belem; Prima-Obra project (Funarte-Brasília); Salão de Abril - Fortaleza; Mac-Usp in the 21st Century: the Era of Artists – the title of the work (Parque Lage- Visual Arts Center) in Rio de Janeiro; Transfronteiras Contemporâneas (Latin America Memorial) São Paulo; finalist at Sergio Mota Award - Instituto Sergio Mota (São Paulo); Subway (Centro Cultural de São Paulo). Main one-man shows: "Something to do with Silence" (Museum of Contemporary Art of Pernambuco - Olinda), exhibition program of the Art Museum of Ribeirão Preto - Marp (notes for goodbye). "Is there a more beautiful blue than mine?" Gallery Virgílio (São Paulo);Curitiba Museum of Engravings. Project for a New World: Centro Cultural do Banco do Nordeste (Fortaleza-CE). The artist has works in the collection of the Museum of Contemporary Art of the University of São Paulo (Mac-Usp), Museu de Arte do Rio (Rio de Janeiro); Art Museum of Rio Grande do Sul; Art Museum of Ribeirão Preto; Museum of Contemporary Art in Ceará (Mac-Ce); Pernambuco Contemporary Art Museum (Mac-Pe), Centro Cultural do Banco do Nordeste in Fortaleza; Contemporary Art Museum of Caracas - Venezuela. He has published articles on his work in the Postgraduate Magazine of the Fine Arts Schools at the Federal University of Rio de Janeiro (UFRJ) and in the Vazante magazine of the Postgraduate Program in Arts at the Institute of Culture and Arts of the Federal University of Ceará (CFU). Projeto Para um Novo Mundo Arte e política se imbricam conceitualmente nesta série. O contexto global é despertado nas relações entre homem e natureza. A alteração dos mapas é o cerne da questão do Projeto Para Um Novo Mundo partindo do princípio da apropriação das bandeiras dos países e seu deslocamento simbólico, via processo artístico possibilitado com a troca das cores das bandeiras. Estas alterações propostas motivam possibilidades reivindicatórias de mudanças em uma estrutura motivada pela sociedade de consumo e que impacta um amplo sistema que se relaciona diretamente com a sustentabilidade do planeta. O resultado desse processo artístico, portanto, é a apropriação e modificação das bandeiras dos países como forma de subverter uma ordem pautada na tradição de um símbolo patriótico. Em Projeto para um Japão, por exemplo, teremos o fundo amarelo e o círculo azul contrapondo com o fundo branco e o círculo vermelho do formato original; Projeto para uma Suíça o fundo azul escuro e a cruz central azul claro contrapõe ao formato original fundo vermelho e cruz branca e assim sucessivamente. 126


Sem tĂ­tulo 43 x 31 cm oleo sobre tela 2017

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Kaija Poijula www.kaijapoijula.com Teokseni kertovat ulkopuolisuudesta, yksinäisyydestä, kuolemasta ja varjojen näkymättömästä maailmasta, vaipumatta liialliseen melankoliaan ja mustaa huumoria unohtamatta. Järjestelen vanhoista kirjoista leikkaamani kuvat kollaaseiksi. Arkiset hylkytavarat ja luonnosta keräämäni materiaali, kasvit ja kallot, yhdistyvät esinekoosteiksi. Materiaalit ja lopulliset teokset viestivät jostain pitkäikäisestä: perinteistä, tutun ja vieraan yhteiselosta, kohtaamisista.

“Kaija Poijula keenly collects pictures, books, natural objects and interesting bits of old junk. These odd items later make up the constituent parts of her beautiful and playful compositions, which form a kind of poetic encyclopaedia. We can interpret these images as suggestions for new combinations of elements from our world. At the same time they are studies showing how images can be constructed from quite different parts, defining their own lexicon for their existence. Poijula’s artworks can also comfortingly remind us that in a world where there often only seems to be one single truth, there are also alternative, more dreamlike realities, hinting at the spiritual realm, in addition to the one we see with our eyes.” Pessi Rautio, Taide-lehden päätoimittaja/Editor-in-Chief of the Finnish Art Magazin. Translation by Fran Weaver

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Photo: Johnny Korkman

Coma Berenices 115 cm assemblage 2018

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Kaisu Lundelin

Photo: Kristoffer Åberg Haluaisin kirjoitaa maalaamisesta ymmärrettävästi ja rehellisesti, se tuntuu vaikealle. Jos osaisin kirjoittaa tai vaikka säveltää maalaukseni, ehkä tekisin niin. Mutta voin vain maalata ne, eivät taivu sanoiksi tai säveliksi. Alla kuitenkin pieni yritys hahmottaa maalausten syntyä. Tapani työskennellä liittyy hiljaisuuteen ja pysähtymiseen. Maalaan ja katselen työtäni. Pikkuhiljaa maalaus löytää muotonsa, sitä ennen on paljon erilaisia polkuja, joista lähden seuraamaan yhtä, joka taas haarautuu ja teen valintojani. En ota suoraan kantaa kestävään kehitykseen, globalisaatioon tai politiikkaan tms. Maalauksiin tulee kuitenkin mystisesti heijastus ajatuksistani ja elämästäni, koodi on salainen – myös minulle. Usein ajattelen maalausta väylänä todellisuuteen, joka on piilossa ja peittyy hälinään ympärillämme. Minulla on ollut useita yksityisnäyttelyitä ja olen osallistunut myös yhteis-ja ryhmänäyttelyihin Suomessa ja ulkomailla. Opiskelin taidetta Vapaassa taidekoulussa 1991-96 ja suoritin kuvataiteilijan erikoistumisopinnot Lahden Taideistituutissa ja Guelphin yliopistossa Kanadassa 2008-2009.

I would like to write about painting comprehensible and sincerely, but I find it difficult. If I could write or compose my paintings, maybe I would do that. But I can only paint, they can’t be declined to words or melodies. But I shall try briefly outline, how my paintings are originated. My way of working is connected with silence and stagnation. I paint, think and watch my work. Little by little the painting finds it’s form, before that there is many different paths, I pick one, which branches and then I again make my choices. Paintings are made with oil, pigments, acrylic medium and acrylic colors on canvas. I don’t directly take a stance about sustainable development, globalization or politics or else with my paintings. Reflexions of my thoughts and life became mysteriously part of my paintings, this code is secret – also for me. Often I think the painting is a way to reality, which is hidden and covered with noise around us. I hope sustainable development also cross spectator’s mind. I have had several solo exhibitions and also participated in many group exhibitions in Finland and other countries. I studied art in Free Art School 1991-96, postgraduate studies Lahden Taideinstituutti and Univercity of Guelph, Canada 2008-2009. 130


Syrakusan kevät 125 x 100 cm akryyli / pigmentti 2018

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Kalevi Liski

Jotakin ihmeellistä ja uutta Olen lähdössä Kalevi Liskin työhuoneelta. Kuuma auringonvalo lankeaa seinälle ripustettuihin maalauksiin suoraan sivulta. Varjot paljastavat maalauksen pinnan kolmiulotteisuuden, maalaus on kuin pienoismalli maisemasta. Käden liikkeitä voi jäljittää kerros kerrokselta toisensa peittävistä palettiveitsen jäljistä. Maalausten väreistä tulee turvallinen ja kehräävä olo. Askel on kevyt, kun kävelen työhuoneelta poispäin, ja pitkään jokaisessa auringonläikässä asfaltilla on jotakin ihmeellistä ja uutta kuin juuri avautumassa oleva maailma harmaan pinnan alla. Raisa Jäntti taidekriitikko

Something wonderful and new I'm leaving Kalevi Liski’s atelier. The exhibited paintings are lit by the hot sunlight from every side. The shadows will reveal the three-dimensional surface of the painting like a model of a scenery. You can track the motion layer by layer which are covered with strokes of the palette knife. The colors of the paintings will arouse secure and marvelous feelings. I am walking with light steps when leaving the atelier. On the pavement I am seeing something wonderful and new on every spot of sunlight as if a new world is opening under the grey surface. Raisa Jäntti Art critic Translated by Marita Virtanen

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Meditaatio 100 x 150 oil on canvas 2018

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Katja Tukiainen www.katjat.net

Katja Tukiainen (s.1969 Pori) on kuvataiteilija joka maalaa, piirtää ja rakentaa installaatioita. Hänen äidinkielensä on maalaus ja päävärinsä vaaleanpunainen. Hänen söpöt, vahvat ja nokkelat tyttöhahmonsa, kirkkaat värinsä ja elegantit siveltimenvetonsa puhuvat vakavista asioista. Hän maalaa parantaakseen maailmaa. Tukiaisella on maisterin tutkinto sekä Taideteollisesta korkeakoulusta että Kuvataideakatemiasta. Hän on opiskellut maalausta myös Venetsian kuvataideakatemiassa 1994-1995, hänen unelmakaupungissaan, jonne hän aina palaa perheineen. Tällä hetkellä hän viimeistelee Kuvataiteen tohtorintutkintoaan Kuvataideakatemiaan, aiheenaan Kerronnallinen maalaus tilassa. Hänen maalauksiaan on useissa merkittävissä kokoelmissa kuten KIASMA Nykytaiteen museon kokoelmassa ja Gösta Serlachiuksen taidekokoelmassa. Hänen teoksiaan on ollut mukana kansainvälisissä näyttelyissä 1990-luvun puolivälistä alkaen. Katja Tukiainen (b.1969, Arctopolis, Finland) is a visual artist who paints, draws and builds installations. Her primary language is painting and her basic color is pink. With her cute, strong and quick-witted girls, bright oil colors and eloquent brush strokes she talks about serious matters. She paints her dreamy landscapes to change the world. Tukiainen holds Master degrees from both Finnish Academy of Fine Arts and University of Art and Design. She has studied painting also in Academy of Fine Arts in Venice 1994-1995, her happy place where she always returns with her family. At the moment she is working with her Visual Artist's Doctoral Degree in the Academy of Fine Arts, Helsinki. Her artistic research focuses on narrative painting in space. Her paintings are included in many prestigious collections like KIASMA Museum of Contemporary Art collection and Gösta Serlachius Fine Arts Foundation collection. Her works are exhibited internationally since mid 1990. 134


Turquoise / Nunnalahti 150 x 150 cm รถljy pellavalle / oil on linen 2018

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Katja Öhrnberg www.katja.fi s.1970 Helsinki

Minulle taide on kieli, sydän, mieli, tutkimusväline ja lopputuote. Taide kertoo elämästä, taide saa minut uskomaan ja luottamaan ihmiskuntaan. Taide on antanut minulle paljon ja haluan kierrättää osan tästä hyvästä.

Art is language, heart, research tool, means and the end product. Art tells us about life, art makes me believe and trust humanity. Art has given me so much that I want to recycle some of that good.

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Valo / Moment of Light 100 x 120 cm akryyliväri kankaalle / akrylic on canvas 2017

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Kerstin Svanberg www.kerstinsvanberg.se

www.enkopingskonstforening.com/Bildspel/kerstin%20svanberg www.jpartmuseum.com/jam_live/hinoki127/

PAPER ART based on the use of natural plant fibres is regarded as SUSTAINABLE art. The long and time consuming process to make paper has been my expression. It provides enormous possibilities for variation. During the last decade my many solo exhibitions have been presented thematically as “FROZEN FLOW”. This due to the process of paper drying which implies a gradual ceasing of the free movement of the tiny cellulose fibres – a frozen flow is created. It is the short course of events, “the freezing”, that primarily fascinates me giving me workspace. I strive to master and control the strong forces that make paper shrink and wrinkle. My objects in handmade paper are frozen moments of dynamic events.

PAPPERSKONST baserad på växtfibrer från naturen är en form av UTHÅLLIGT konstnärskap. Den långa och tidsödande processen att göra papper har blivit mitt uttryck och ger enorma variationsmöjligheter. Mina separatutställningar har de senaste årtiondet haft temat ”FRYST FLÖDE”, vilket bland annat syftar på framställningen av papper. Nämligen när jag låter ett stycke papper torka, avstannar gradvis den fria rörelsen av de mikroskopiska fibrerna av cellulosa - det skapas ett fryst flöde. Det är det korta skeendet ”frysningen” som främst fascinerar och ger mig arbetsutrymme. Jag strävar efter att behärska och styra de starka krafterna, som gör att papperet vill krympa och skrynklas. Objekten i handgjort papper är frysta ögonblick av dynamiska händelser.

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Frozen Flow installation of 5 wall-hanging elements 87 x 200 x 9 cm Handmade linenpaper, pigments 2014

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Kiba Lumberg Born.1956 in Finland www.kiba.lumberg.fi www.facebook.com/kibalumberg www.facebook.com/MinaTeJaMuutMeYouAndTheOthers www.facebook.com/aurinkogalleria www.facebook.com/tummajahehkuvaveri

Artist, Author And Script Writer Kiba Lumberg started her artistic work in the early 80’s. She is an active novelist, painter, installation artist, comicdrawer, script writer, film director, lecturer and curator. She speaks loudly for women’s rights, especially those in the Romany community, as well as culture, art and humanity. In addition to a remarkable amount of exhibitions both in Finland and abroad she has written novels, scripts for TV and theatre and several other publications. Her play Tumma ja hehkuva veri (1997) started an intense discussion among Finnish gipsies, and Kiba was accused of denying her background and denigrating the whole Romany culture. She herself considers to be a European and a cosmopolitan. As a caring person with a strong message she has organized and participated many multicultural activities and projects with seniors, women, youngsters, and people in margin. In the 1990’s Kiba Lumberg opened Finland’s first social gallery, where people could walk in her art gallery and talk - about art, the struggle of the everyday life or the beauty of mankind. They were even give food, if they were hungry. One of the most noticeable was the project Minä, te ja muut (I, you and the others) in 2013, an international exhibition of contemporary art made by female Romany. The project also included workshops, debates and seminars, and was later brought to Tampere Short Film Festival. The latest of Kiba’s projects has taken place in her hometown Sipoo, where she coordinated and curated the exhibition Meitä on moneksi 0 - 100, art made by local citicens of ages 3 - 96. In 2016 Kiba Lumberg was busy taking part in the group exhibition First Biannale of the Dolomites in Italy, writing the novel Irtiotto, and organizing her 60th Anniversary exhibition. At this moment Kiba Lumberg is finishing her latest novel “Irtiotto”, will be published autumn 2018.

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Time To Leave 52 x 75,5 cm drawing ink on paper 2007

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Kirsi Neuvonen www.kirsineuvonen.fi

www.facebook.com/kirsineuvosenpaja Taidegraafikko / Printmaker, Jyväskylä, Finland, born 1960 Olen toiminut taidegraafikkona ja kuvataiteilijana yli kolmekymmentä vuotta. Tekemiseni kumpuaa kauneuden kaipuusta, ihmisen myönteisestä läsnäolosta ja ympärillämme olevan estetiikan ja luonnon huomioimisesta. Taidehistoria toimii inspiraationi pääasiallisena lähteenä. Kerään lisäksi aineistoa muodista, muotoilusta, arkkitehtuurista ja luonnonhistoriallisista läheistä. Itselleni rakas ornamentiikka perustuu luonnosta löytyviin geometrisiin kuvioihin. Taidehistoriaan pohjautuvissa teoksissa teen eri aikakausista kuva-analyyseja, en kirjallisia, vaan piirtämällä. Teen tutkimustyötä luomalla uuden tulkinnan teoksista, jotka ovat minua koskettaneet. Tehdessäni analysoin kokemustani suhteessa nykyaikaan ja maailmaan, jossa elämme. Teokseni muodostavat tarinan, joka on alkanut joskus ennen minua ja jatkuu minun jälkeeni. Näyttelyissäni pyrin kertomaan katsojille tarinan, jossa on monta eri ulottuvuutta. Teoksissani ja näyttelyissäni on läsnä niin ilo, onnellisuus ja unelmat kuin suru ja menetyksetkin. Samaistun kaihoon, tunnelmaan unelman ja tasapainon välillä.

I have worked as a printmaker and artist for over thirty years. Everything I do, wells up from my longing for beauty and the positive presence of people. The wildlife and aesthetics around us contribute to my work accordingly. The most I am inspired by art history. In addition, fashion, design, architecture and natural history are the sources for my inspiration. The ornametics that I love so much, is based on geometric patterns that exhibit in nature. I make visual analyses of the works that are inspired by art history by drawing them, instead of writing. They represent different eras. I do research on earlier works of art, and make my very own interpretations of those that evoke emotions in me. While working, I analyze my own experiences and reflect them to the present time and the world we are living in. My works make a story that began well before me and will continue after me. I build my exhibitions as to tell a story with many dimensions. In my works and exhibitions you can encounter both joy, dreams and happiness alongside with sorrow and loss. I myself identify myself with longing, which I reckon is the atmosphere between sorrow and balance. 142


Saarnilehto / Ash Grove 100 x 60 cm etsaus, akvatinta, kopiosyรถvytys / etching akvatint copyetching 2013

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Kristina Isaksson Kristina Isaksson on taidemaalari ja valmistunut Turun Piirustuskoulusta vuonna 1987 ja suorittanut kuvataiteilija AMK tutkinnon 2002. Hän on osallistunut lukuisiin ryhmä- ja yhteisnäyttelyihin Suomessa ja ulkomailla ja pitänyt yksityisnäyttelyitä vuodesta 1988 lähtien. In recent years I have been intrested in the northern landscape. My intention is not to document it but more to create a inner abstract meditative landscape and give a visually form to phenomenons we can sense but not see, like the wind, the silence, sensations of heat or frost. I am trying to understand nature through painting it, my paintings are rough drafts of my visions of the world. Light and darkness, the two opposite elements of life. I love light and enjoy the summer, hate the endless winter darkness. Still the darktimes an the ascetic beauty of the dark seasons inspire me most. The sudden burst of winter light, how it defines and redefines the outlines of the landscape and the beauty of a harsh but delicate coloured landscape. I work with acrylic paints combined with dry pigments. I work serially and approach my art as an ongoing process. As a painter I work with subtle colors and overlaping colourfields and different layers of textures My technique to paint with very fluid colors is both expressive and contemplative and also sometimes difficult to control. I follow the drying colors and paint in steps, waiting for the wet colour to dry before I can continue. It is a long process and it often takes weeks to complete one painting. Every painting is for me a new adventure, a step forward to something unexpected but rewarding I search inpiration in long walks in nature, taking photos and reflecting the atmosphere. In my studio I abandon all scetches and work expressively only guided by intuition and the subconscious. 144

Photo: Pertti Saari


Häikäisy 100 x 120 cm akryyli 2018

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Leena Mäki-Patola www.leenamaki-patola.fi Olen varkautelainen kuvataiteilija. Päämateriaalini on savi. Aiheesta riippuen kokeilen eri tekniikoita tavoittaakseni haluamani lopputuloksen. Installaationi ovat keraamisten osien, readymade osien, videon ja äänen yhdistelmiä. Teosteni teemana ovat elementit maa, ilma, veri ja vesi, joiden kautta tarkastelen ekologisia ja eettisiä kysymyksiä. Teoksissani tuon esiin pohdintojani teemoista vapaus, veljeys ja yhdenvertaisuus sekä onni, epäonni ja ennakoimattomuus. Töissäni esiintyvät kysymykset nousevat jokapäiväisistä maailman tapahtumista. Teoksillani osallistun ajankohtaiseen yhteiskunnalliseen keskusteluun. Viimeisimmissä keraamisissa teoksissa tarkastelen jokien, verisuonten, salamoiden, oksien, juurien ja maan halkeamien samankaltaisia muotoja. Näissä teoksissa yhdistyvät teemani Elementit ja Kaikki toistensa juurta.

I am a visual artist living in Varkaus, Finland. My main material is clay. Depending on the subject, I have experimented with different techniques to gain the results what I want. Today my installations are combinations of ceramic parts, readymade objects, video and sound. The overarching theme of my practice over the past ten years has involved the elements of earth, air, blood and water, through which I have explored ecological and ethical questions. The underlying theme in my latest works is luck and misfortune. I find the inspiration for my work from daily life and news itsems which have lodged themselves in my mind. Art for me is one way of taking part in social and political discussion. In the latest works I study similar forms found in rivers, vascular system, lightning, branches, roots and cracks of soil. In these works meet my themes Elements and All of the same root. 146


All of the same root / Vegetation 50 x 3 x 50 cm ceramics 2017 Photo: Leena Mäki-Patola

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Leena Rantanen Pois Tuttuudesta Maalausteni lähtökohtina ovat tutut aiheet; melkeinpä yhdentekevät esineet, maisemat, tilat tai muodot - jotka silti ovat riittävän haastavia maalattaviksi. Hitaan maalausprosessin aikana jo kertaalleen tehty uudelleen määrittyy: tarpeeton pyyhkiytyy pois ja uudet maalikerrokset peittävät erehdykset ja samalla kutsuvat taas esiin jo tehdyn uudelleen arvioinnin.

Escaping Familiarity The starting points of my paintings are familiar “themes” such as everyday objects, landscapes, spaces or forms that are challenging enough to be painted. Painting is a slow process during which the already done is constantly re-evaluated. The unnecessary disappears while layers of colors cover mistakes and simultaneously call for a re-examination of what has been done.

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nimetön / nameless 120 x 120 cm öljyväri kankaalle / oil on canvas 2018 149


Leena Turvanen leena.turvanen@gmail.com Leena Turvanen syntyi Haapavedellä vuonna 1958. Hän asuu ja työskentelee Helsingissä. Hän on kuvataiteilija ja tilataiteilija. Pääasiallisena materiaalina ovat olleet löydetyt muoviesineet. Hän opiskeli vuosina 1992 – 1995 Taidekoulu Maassa Suomenlinnassa ja vuosina 2010 – 2011 Lahden Taideinstituutissa. Hän on Suomen kuvanveistäjäliiton jäsen. ”Kun olin viisivuotias niin joka aamu mummi letitti hiukseni kahdella punaisella lettinauhalla. Vaikka olisin koko päivän heitellyt kuperkeikkoja, niin vielä illalla letit olivat hyvät. Nukkumaan mennessä avasin letit. Tuo järjestyksen ja epäjärjestyksen kierto/tasapaino on taiteessani, ainakin tavoittelen.”

Leena Turvanen was born in 1958 in Haapavesi. She lives and works in Helsinki. She is a visual artist operating within installations and performances. Her works are collages of objects, predominantly plastic items since 1994. She studied at Art School Maa in Helsinki 1992 - 1995. She studied at Lahti Institute of Fine Arts in 2010 - 2011. She is a member of Association of Finnish Sculptors.

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“I was five years old and every morning my grandmother plaited my hair with two red ribbons. In spite of my somersaults during the day the ribbons were so tight that by evening I had as good ribbons as in the morning. When going to sleep I opened them. I try to reach for that changeable condition/feeling when working with my art.”


Aivot / Brains 40 x 40 x 1,5 cm esinekooste liimattu pleksille 2015 151


Lila Hamdan www.facebook.com/lilaartistaplastica "I often say that I know when really a work is shocking, when I leave an inspiring exhibition and I want to produce, create, do something I do not even know what it is or how, but I know it's there, somewhere. And that's when I had the pleasure of visiting the exhibition "Dimensions", by talented Lila Hamdan. An exhibition as vibrant as the artist herself, who from actress to filmmaker, found the deepest vocation in the plastic arts. Between disquieting sculptures that convey to us the sensation of a parallel world, infinite universes, and a painting that, even with a color-restricted palette, can reach dozens of tones, both styles are loaded with incredible cosmic energy, from sensory worlds to be discovered. As you walk through the exhibition, looking at the interwoven bodies of the Lila characters, and the vivid colors that can range from a deep yellow to a compact coffee ... The path becomes infinite. You go from one side to another, return to the beginning, do not know if you are at the end, come back again ... And so the cycle repeats itself for hours. Until that, at the end, we only have to ask ourselves: "Who are we, where do we come from, where are we going?" Each one in search of his discovery, of his Dimension!" Words by Gedeon Messias, artist, art teacher and artistic columnist, about the exhibition by Lila Hamdan. 152


Dimensoes I 60 x 40 x 20 cm Bronze 2016

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Lisa Burenius MFA

lisaburenius.se lisa@lisaburenius.se instagram.com/lisaburenius facebook.com/lisaburenius Member of KRO Swedish artists national organisation Lisa Burenius, Lives in Varberg on the west coast of Sweden. She graduated from The Departement of Design and Crafts in Gothenburg, Master of Fine Arts (MFA) in Applied Arts and Crafts 1995. She has been a full time professional artist since 1995 and has done numerous exhibitions and solo exhibitions all over Sweden and world wide. For example in Stockholm, Göteborg, Malmö, Helsinki, Hong Kong, Brussels, Hamburg, Rio de Janeiro and Osaka. She works with set design for theaters, public space design, styling, and with workshops in colour and space. The colour it self and it´s physical presence plays the main part in her works. The colours are often bright and shiny and her way of handling it is both structured and chaotic. It could be a landscape or a cityscape. It could be a different kind of species yet not discovered. It could be microscopic or macroscopic looking through a microscope or even a map of an unknown place in an abstract way. She registers colours, shape, light and different kind of surfaces in nature just to be able to create an interpretation back in the studio. Her works of art are created by layers of overlapping paint. Using brushes, knifes, pait scrapers or just pouring out the paint over the canvas. This helps her to create an abstract landscape which never has been seen before yet always recognizable in some way. 154


From Another Point of View 68 x 87 cm acrylic and ink on paper 2018

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Lucas Rehnman Lucas Rehnman is a Brazilian-Finnish artist-researcher born in 1988. After completing a Masters course in Arts in the Public Spheres at École Cantonale d’Art du Valais (Sierre, Switzerland) in 2016, his research and practice evolved from drawing and conceptual art to a broad reflection on decolonizing processes, democracy, writing and oral transmission strategies. He is a member of Brazilian sound-collective EPICAC Tropical Banda and also works as an art advisor and independent professor.

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Lucas Rehnman é um artista-pesquisador brasileiro-finlandês nascido em 1988. Depois de completar em 2016 um mestrado em Artes nas Esferas Públicas na Escola Cantonal de Arte do Valais em Sierre (Suíça), sua pesquisa e prática desenvolveu-se do desenho e da arte conceitual a uma reflexão ampla sobre processos de descolonização, democracia, escrita e oralidade. É um membro do coletivo Epicac Tropical Banda e também trabalha como art advisor e professor independente.


Zona 25,8 x 19,8 cm with frame mixed media on paper 2014

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Luisa Dequech Natural of Belo Horizonte, Brazil. 35 years old and a year and a half in this area of art. I like the harmony between colors and shapes. My forte is the colorful. The idea of joy and passion I love, and it's what I tried to pass on. Cubism and fauvism in the abstract, I believe that is the schools that fit me. I have no training in the area, but a lot of will and creativity. Despite having her whole career in business, graduation and MBA; nowadays she dedicate her professional life just to art. A childhood hobby that became her profession and greatest passion. Luisa Dequech currently participate in exhibitions in Sao Paulo, New York, Belo Horizonte, Finland and Rio de Janeiro.

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From de sky to the sea, all blue! 70 x 50 cm acrylic

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Maaria Märkälä www.maariamarkala.com Pessi Rautio, Taide-lehden päätoimittaja, kirjoittaa: "Siksi Märkälän maalaustapa, joka tuo mieleen ekspressionismin (jonka kuvataiteellisen tyylin eräs merkittävimpiä keskuksia on juuri Berliini) on johdonmukainen, se paksu, miltei ruokaisa väri Märkälän maalauksissa kertoo siitä, että maalauksen ei ole tarkoitus häivyttää itseään taustalle. Maaliaine, sen levittämisen nopeudesta kertova muoto kertoo katsomistilanteen jokaisessa sekunnin murtoosassa, että tässä on yksi osa maailmaa maalilla uudelleen, ehkä jopa entistä ehommaksi rakennettuna: nähkää illuusion syntymisen ihme. Taikuri näyttää temppunsa salat julki, ja kumma kyllä, silloin temppu on vaikuttavimmillaan samoin kuin nukketeatterissa, jossa nuken liikuttajat ovat näkyvillä." "Märkälä haluaa maalata, rakentaa päällimmäiseksi esiin hyvän, prosessin on päädyttävä johonkin toiveikkaaseen, happea täynnä olevaan, elämäntunteiseen, valonomaiseen, ehkä jopa siihen kauniiseen." "Märkälälle maailmassa on kohteita, hyviä kohteita, joita kerta kaikkiaan on syytä kuvata maalaten, jo senkin takia, että niistä tulee niin hyviä maalauksia".

Maaria Märkälä is a bicycle woman and a landscape painter living in Espoo and having a studio at Cable factory, Helsinki. She used to travel to discover inspiration but nowadays Märkälä feels like flying is bad for the planet and air travel is usually the largest component of the carbon footprint of frequent flyers. That makes Märkälä enjoy more and more of all the extreme seasons that Finnish nature has to offer: everything between the warmest summer, midnight sun and the arctic darkness, quietness and snow. Nature is in a constant state of change. It is a gift from the first light green plant to appear after snow to the great explosion of autumnal reds, browns and yellows before winter comes. Märkälä’s works are seen in several public and private collections in Finland and abroad. Pessi Rautio The Editor-in-Chief of Taidelehti, Finland: "That is why Märkälä's method of painting, reminiscent of expressionism (one of the centres of which Berlin happens to be) is consistent; the thick, almost edible, colour in her paintings manifests that the painting is not trying to hide in the background. The paint as a substance, the form of which reveals the speed in which it was spread, manifests in every fraction of a second of the viewing session that what we see here is a part of the world reconstructed with paint, possibly improved: witness the miracle of the illusion. The magician shows her tricks, and, oddly enough, this is exactly what makes the trick so impressive, as in puppetry when the puppeteers are visible ". "Märkälä wants to paint, to bring out the good on the top, so the process must end in something hopeful, full of oxygen and life, light, even what is beautiful ". "To Märkälä, the world includes objects, good ones that simply must be depicted through painting, not least because they make such good paintings". 160


Let the Sunshine in 100 x 100 cm oil on canvas 2018

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Maj-Lis Tanner

Värikamppailuni luonnon puolesta Minulle luonto on kaikki kaikessa. Kauneinta on koskematon luonto, sellainen mistä löytyy vanhaa monimuotoista metsää, synkkääkin synkempää korpea, kosteikkoja, soita, koskia, jokia, kukkaketoja tai kuivaa aavikkoa. Haluaisin, että tällainen luonto säilyy seuraaville sukupolville, ettei metsiä ylihakata, jokia padota, kosteikkoja kuivata tai arkoja luontoalueita alisteta rakentamiselle. Me tarvitsemme henkireikiä vastapainoksi arjelle, luontoa jota ei ole tuhottu, luontoa jonne mennä ja josta nauttia. Maalauksissani luontorakkauteni tulee esille luonnolle kuuluvina väreinä. Suomen neljä vuodenaikaa tuntuvat ohjaavan väriskaalaa niin, ettei välillä vastaan voi taistella. Kauneimmat värikirjot liittyvät Lapin ruskaan, jolloin maa välkehtii ruskeana, punaisena, kaikilla mahdollisilla tummilla sävyillä joiden keskellä komeilee oranssi. Photo: Matti Hyyrynen

My color struggle on behalf of nature Nature means everything to me. The most beautiful part is pristine, untouched nature, where you find old forests rich in biodiversity, gloomy wooded swamps, wetlands, bogs, rapids, rivers, fields of flowers or dry desert. I want this kind of nature to be preserved for future generations; I do not want forests to be logged, rivers to be damned, wetlands dried or sensitive natural areas subjected to construction. We need outlets or lifelines as counterbalances to everyday life, we need nature that has not been destroyed, nature where we can go and which we can enjoy. In my paintings I wage a battle on behalf of nature. My love of nature can be seen in colors that occur in nature. The four seasons of Finland seem to guide my color spectrum so much that sometimes resistance is futile. The most beautiful range of colors are related to the autumn colors of Lapland, when the ground glimmers with browns and reds, and all kinds of dark shades, in the middle of which orange stands out.

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Lumiraja pakenee / The Snow Line Flees 75 x 100 cm akryyli pleksille / acrylic on plexiglass 2018

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Marcio Goldzweig http://marciogoldzweig.com

In the age of social media and touch communication, the artist makes his own pens (Qalams) with bamboo and waribashis - recycled chopsticks of Japanese food - strongly inspired by the concepts of the "maker culture". Qalams - Are tools that originally date back to the X Century in Islam in the age of the writing aurora. The hand of the artist, build tools of expression and produce lines from calligraphic gestures of different cultures, translated into drawings on paper and canvas. The myriad of lines into his artworks enables the watcher to come across letters, wondering of hidden words in a texture, which turn into physical and abstract silhouettes. The Calligraphic Abstractions go beyond painting and drawing, being crafted on linoleum and wood matrices where the elements and calligraphic movements are eternalized with precise incisions made over traces created with brushes or markers revealing the failures of the ink on the plate. Hairlines are gently engraved forming compositions printed directly in a manual printing press.

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Margareta Gelles http://gelles.se

Born in Trosa 1958, living in Eskilstuna and working full time artist. I work mostly in oil, acrylic, collage or sculpture. In my constant exploration of painting and sculpting, I express feelings and thoughts with elements of both seriousness and playfulness. I have a great curiosity about the creative process and where it takes me. I never know where I end up when I start, what form the work takes or what the outcome will be. I would not want to place my work in a certain field, it would just limit myself. Through the years I have exhibited in Sweden, Germany, France, Portugal, Brazil and USA. Membership in Konstnärernas Riksorganisation (The National Organisation of Artists), KRO.KIF. KC-mitt, BUS, KHVC. Svenska konstgalleriet (The Swedish Art Gallery).

Technique: Oil and acrylic on cannvas,collage,sculptures in mixed technique. Educations: Arts Programme Eskilstuna folkhögskola (Folk University) for 2 years. Mission: Painting, Eskilstuna Marknadsföring AB 2005. Public purchase: Eskilstuna kommun (Eskilstuna county), Vattenfall Stockholm, Torshälla stadsförvaltning (civic authority), amongst others. Other:The 1998 opening of Mälarbanan, promotor Eskilstuna kommun. 2001 Stiftelsen Astrid Lindgrens Barnsjukhus (childrens hospital),promotor Christina Scollin. 2004 culture exchange Riete,Italy. Artwork: Familjecenter Torshälla Eskilstuna kommun (family center). BUP Barn och ungdomspsykiatrin (child psychiatry), Landstinget Sörmland. Represented: Vattenfall Stockholm, Eskilstuna kommun Torshälla förvaltning, Södermanlands Landsting, ART Director Laguna Gallery of Contemporary Art, Californien.

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Exposure 120 x 120 cm oil 2018

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Maria Wolfram www.mariawolfram.com

www.instagram.com/mariawolfram

The Finnish painter and installation artist Maria Wolfram lives and works in Helsinki, Finland and Hong Kong. Identity, interaction, human condition and power are returning topics in Wolfram´s art. She exhibits frequently installations combining paintings and mixed media sculptures using oil, acrylic, ink and collage on linen, mdf-panel or card. In her sculptures she uses material such as stockings, textiles, knitted or crocheted elements, shoes, hair and feathers. Materiality and an experimental approach often spiced with humour are important elements in Wolfram´s practice. Wolfram looks at the world from a female perspective and she likes to challenge and confront the viewer with questions related to exclusion and inclusion. She draws inspiration from everyday encounters with people; contemporary posing culture where people create a particular identity for themselves and from a culture that is defined by the endless hunger to be seen. Maria´s portraits capture intimate glimpses of fleeting moments of something unmasked and real. They seem to look back at us asking: What do you see when you look at me? Her work is an attempt to create a dialogue between the surface and the hidden and the public and the private. In this time of history in an increasingly dehumanized world Wolfram makes art that mirrors real human experiences and emotions. Maria Wolfram graduated as Bachelor of Fine Art from Kingston University in London in year 2000 and as Master of Fine Art from Chelsea College of Art and Design, University of London in year 2002. Since then she has frequently exhibited her art and has had over 20 solo exhibitions both in Finland and abroad. Maria Wolfram has received many awards and scholarships both in Finland and in England. She is also an active member of the Finnish artists community where she has had many positions of trust.

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Disconnected Connections 1 90 x 120 cm mixed media 2018

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Marja Hakala www.marjahakala.net Nature is the starting point in my work of art - whether it's painting, drawing, making objects, installations or environmental art. I work with many different techniques and styles. I do not see anything strange about it, because I do just one and the same work - my own life. At the same time, I gain experience of the surrounding reality and I reflect it visible to others. Different forms of work enable the handling of issues in a variety of ways, depending on the situation and the need. Curiosity, enthusiasm, and humility are maintained when you can never say that you have something completely mastered. In this painting (Theory of Everything) I approach the world globally - very globally, I would not say ethereal. I see everything in a large and in a small scale. And it’s the same. Where we begin or end our lives is not a point but a small flash of light in a huge continuum. In a beautiful continuum. Sometimes in an unimaginably large continuum. It's thrilling to be involved with the adventure of life in this universe. 170


Kaikenteoria / Theory of Everything 2 x 3 m (35 kpl 40 x 40 cm) acrylic 2017

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Marjukka Korhonen marjukkakorhonen.net

Taiteellinen työskentelyni keskittyy hahmosarjojen luomiseen, joissa käsittelen ihmisyyttä. Tekemistäni määrittelee kiinnostukseni ympäristöön ja sen laatuun. Käytän dokumentoivaa ja sosiaalista lähestymistapaa teosten luomisessa. Pyrin kuvaamaan teoksillani vaihtelevia sosiaalisia tilanteita ja ihmisen sisäistä tunnetta. Minua kiinnostaa ajatus taideteoksesta, joka voi toimia yhteisöllisyyden välineenä tai olla kiinteä osa rakennetun ympäristön toiminnallisuutta. Käytän välineinä kunkin teoksen sisältöön soveltuvia materiaaleja ja työskentelytapoja. Kutsun useimpia teoksiani hahmoiksi. Kyseinen ilmaisu sisältää sekä yleisen että vierauden käsitteen samaan aikaan. Työskennellessäni etsin tietynlaista olemusta, joka ilmentää ympäristöstä mieleen painuneita asioita. Osaksi huomiot ovat tiedostamatonta informaatiota. Olen suorittanut Kuvataideakatemian kuvataiteen maisterin tutkinnon 2001. Teoksiani on edustettuna Valtion taideteostoimikunnan kokoelmassa, Lappeenrannan taidemuseon kokoelmassa ja Teresia ja Rafael Lönnströmin säätiön kokoelmassa. Asun ja työskentelen Helsingissä.

Photo: Nina Tuittu | Suomipoika and Kinnarin Valeria, 2018, bronze, paint My artistic work centres on the creation of series of figures, in which I deal with, what it means to be human. What I do is dictated by my interest in the environment and the quality of the environment. In creating the works, I take a social, documentary approach. I try to use them to depict varying social situations and people’s inner feelings. I am interested in the idea of an artwork that can serve as a tool for a sense of community or be a fixed part of the way an environment functions. I use materials and approaches suited the content of the individual work. I call most of my works ‘figures’. This term simultaneously incorporates both something universal and the concept of alienation. When I am working, I seek a certain essence that reflects things in the environment that have impressed themselves on my mind. These observations are partly unconscious information. I completed my MFA degree at The Academy of Fine Arts of Helsinki in 2001. I’m represented in Finnish State Art Deposit Collection, the Lappeenranta Art Museum Collection and The Lönnström Art Museum Collection. I live and work in Helsinki, Finland. 172


Girls, glass fiber, white paint, 2013 Immediate imbalance, glass fiber, blue paint, 2015 Photo: Nina Tuittu

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Marjukka Paunila Helsinki www.marjukkapaunila.fi

Elämän sydän muodostuu pienistä asioista, pienistä valinnoista, pienten ilojen antamisesta, löytämisestä ja vastaanottamisesta – jakamisesta. Jakaminen lahjoittaa tilan, jossa jokainen saa pienen ilon ja unelman. Unet ja unelmat niin kuin jossain, jossa silmä jaksaa katsoa kukan viivaa ja havaitsee tilan, hetken, olion, kantavat myös löytämiseen ja muutokseen, suuriinkin vaikutuksiin. Tuuli ja meri sekä Ansa ovat maalatut ikiaikaisella kestävällä tekniikalla, munatemperalla. Lainaus kriitikko Otso Kantokorven tekstistä: Samalla taisin tajuta myös sen, miksi Paunilan työt näyttävät usein niin erilaisilta kuin muistan niiden edellisessä näyttelyssä näyttäneen. Siksi, että ne ovat erilaisia. Paunila ei ole ryhtynyt kopioimaan tai käsityöläistämään itseään vaan uskaltaa välineensä virtuoosinakin asettaa itsensä alttiiksi. Paunila löytää koko ajan uusia asioita, mutta vastaavasti karttuva ikä ja kokemus tuovat myös muistojen ja niiden kulloistenkin tulkintojen kautta menneeseen aina uusia merkityskerroksia. Ja kun hän tarjoaa meille tilaisuuden nähdä kauttaan uusia asioita, antaa hän myös sen saman vapauden, jota on itse kokenut. Sitäkin pitää kuitenkin opetella näkemään. Photo: Nooa Katajala

The heart of life is made up of small things, small choices, the giving, finding and receiving – sharing – of small joys. Sharing is a gift of a space in which everyone gets a small joy and a dream. Sleep and dreams, as if somewhere where the eye is able to look at the line of a flower and sense a space, a moment, a being, also take us into discovery and change, even into major consequences. Wind and Sea and Trap have been painted using an age-old, sustainable technique – egg tempera. Translation: Mike Garner

The part from a text of the Art critic Otso Kantokorpi: At the same time I think I also understood why Paunila's works often look so different from what I remember them looking like at previous exhibitions. Because they are different. Paunila does not set out to copy or remanufacture herself, even as a virtuoso of her instrument she puts herself out on the line. Paunila continuously finds new things, but, in equal measure, through memories and their respective interpretations, age and experience bring ever new layers of meaning to the past. As she offers us a chance to see new things through her, she also gives us the same freedom she has experienced herself. But that too, you have to learn to see. Translation: Susan Heiskanen

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Vesi ja tuuli / Wind and Sea 90 x 130 cm munatempera / egg tempera 2018

Photo: Nooa Katajala 175


Merja Ranki Kuvanveistäjä / Sculptor www.merjaranki.com

Photo: Ossi Kajas

Olen viime vuosien ajan tehnyt tarinallisia omakuvia, joiden mallit on tehty ottamalla muotit suoraan lihallisesta kehosta ja sen osista. Olen keraamikko ja materiaalini tulee maasta. Katson ihmiskehoa kulutushyödykkeenä ja samaan aikaan luonnon kiertokulun materiaalina. Kysymyksiä herää henkilökohtaisen hyvinvoinnin vuoksi luonnon muiden materiaalien kustannuksella tehdyistä valinnoista. Kysymyksiä herää myös kuolemasta ja materiaalin olomuotojen muutoksesta.

During the last years I have been making portraits by casting the molds directly on the body. As a ceramist my material, the clay comes from the earth. I see the human body as a consumer product and at the same time as a material in the natural circulation. There are questions about the choices we make for our personal welfare on the cost of the other natural resources. There are also questions about the death as well as the transformations of materials.

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Rooting porcelain / silver (silver work Niina Halonen) 2015

Photo: Ilkka Kallio

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Merja Salonen Di Giorgio

www.merjasdg.net

Merja Salonen Di Giorgio on suomalainen taidemaalari ja kuvataiteilija, jonka taiteen ytimessä ovat ihmisten jättämät jäljet kulttuuriympäristössä sekä historialliset kerrostumat. Häntä innoittaa matkustaa hitaasti ja kokea kaupunkien ja paikkojen "oloisuus"; henki, genius loci. Tekniikkkoina taiteellisessa työskentelyssään hän käyttää pääosin öljyväriä kankaalle ja sekateniikkaa paperille. Hän jakaa kiinnostuksen vuosisatoja vanhoihin maalaustekniikoihin ja materiaaleihin ja käyttää niitä haluamillaan tavoilla. Hänelle on tärkeää olla osana vuosituhantista maalaustaiteen jatkumoa, johon kädentaidot, työhuoneen tuoksut ja materiaalit liittyvät oleellisesti. Taideteos on rakkaudella valmistettu pitkäaikaishyödyke, joka avautuu syvyyssuunnassa, ajan kanssa. Se ravistelee ihmistä sisältä.

Photo: Paula Kukkonen

Merja Salonen Di Giorgio is a Finnish painter that has the focus on the traces of life in cultural environment and layers of history, in her work. She gets inspired in the atmosphere of different places and towns and loves travelling slowly. The body of work is mainly oil on canvas and mixed media on paper. She shares an interest for centuries-old, traditional materials and painting techniques and uses them with a new twist. Art is done with love to last for the life time and longer. It is something that shakes you internally.

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Tuhannen ja yhden yÜn matkakertomuksia #50 / Travellers´ Stories From the Arabian Nights #50 42 x 34 cm sekatekniikka paperille / mixed media on paper 2016

Photo: Giuseppe Di Giorgio

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Mikko Paakkola www.mikkopaakkola.fi

Työni juuret ovat pohjoisessa siitä huolimatta että olen opiskellut Pariisissa ja kasvattanut lapseni Brysselissä. Vanhempani tulevat Lapista ja sen liepeiltä. Niillä seuduilla värit ovat huikaisevampia kuin missään muualla. Tämä johtuu kaamoksesta. Pitkän yön ainoat valot ovat revontulten loimuja. Pimeyden valoa. Saamelaispukujen ja Lapin raanujen väriloisto ovat vain heijastusta valon puutteesta; mustuus saa värit säkenöimään. Sama koskee syksyn kasveja. Ja sama koskee maalauksiani. Saadakseni värien hehkun täyteen voimaansa aloitan mustalla. Musta ei ole väri. Se on valoa jota ei ole. Se on pohjoisen yön hiljaisuus. Se sallii värille puhtauden, ja minulle se tarkoittaa väripigmenttejä kaikissa olomuodoissaan. Myös ajatuksissani. Tekniikka on aika yksinkertaista: annan värieni kuivua erilaisille sideaineille ja alustoille. Siinä ei ole salaisuuksia. Mutta silti se on mystiikkaa. Taustalla on sommitelma, jonka olen kehittänyt vuosien saatossa: jaan maalaukseni kahteen osaan yhdellä vaakaviivalla. Abstraktio joka saa kuvittelemaan horisonttilinjaa, ja aina voi ajatella pääsevänsä sinne: maailman laitaan ja sen taakse.

My way to paint has its roots in the northern corner of the world even though I have studied in Paris and raised my children in Brussels; my parents came from Lapland and its surroundings where the colours are stronger than anywhere else. That is due to the dark and long winters where the only lights are the lights of aurora borealis. The lights of the darkness. The strong and simple colours of the native clothing and popular textiles in the north are the fruits of this lack of light. It is the same in my paintings. To get the colour in its purest form, just start from painting it black. Black is not a colour, it is a light that does not exist. Like in the silence of the northern night. It is the light that allows the colours to shine in their brightest form, and in my paintings this means the form of pigments on my surfaces – that have their supports. Also mentally. I am not pointing only to the techniques I am using to get the blaze for my colours. This sounds quite easy: I let the pigments dry onto different binders. No secret but a mystery. Anyway, here I refer to the very basic composition I have developed for years. I cut the painting in two parts by a simple line. An abstraction to imagine the horizon. You can always dream to get there; to the edge of the world and beyond it.

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Nimetรถn / no name 120 x 120 cm akryyli, pigmentti ja lakka lasille / acrylic, piments and lacquer on glass 2017 181


Minna Kangasmaa

Kuvanveistäjä | Skulptör | Sculptor | Bildhauerin www.minnakangasmaa.fi Viimeisimmässä teossarjassani Systema naturae tarkastelen ihmisen, yhteiskunnan ja luonnon vuorovaikutussuhteita sekä niiden potentiaalia synnyttää sekä tuhoa että edistystä. Sarjan veistoksissa ja installaatioissa käsittelen ihmisen luontosuhteeseen liittyvien käsitteiden ja näkemysten sekä näiden jäsentämisen ja uudelleenarvioinnin kautta taiteen kykyä kuvata luontoa totuudenmukaisesti. Sanana luonto on arkipäiväinen, mutta käsitteenä sen määrittely käy päivä päivältä haasteellisemmaksi - uudet käsitykset luonnosta paljastavat uusia puolia myös itsestämme, yhteiskunnasta, kulttuurista ja historiasta. My most recent series of works Systema naturae brings under scrutiny interactions between human, society and nature and their potential to generate both destruction and progress. Through clarifying, structuring and re-evaluating concepts and aspects related to the human relationship with nature the series of works deals with art's ability to describe the human relationship with nature truthfully. 182


The Lofty Message of Landscape I-IV 170 x 400 x 100 cm, 4 osaa, yksityiskohta, / 4 parts, detail puinen kenttäteline, valokuva kaiverrettu vanerille / field easels, photograph engraved on plywood 2013

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Misa Saraste

misasaraste.portfoliobox.net Erilaisilla tekniikoilla kokeilu sekä materiaaleilla leikkiminen ovat intohimoni. Kierrättäminen on niin hauskaa; ottaa aikansa kerätä kaikenlaisia käytettyjä tavaroita mutta mikä riemu siitä syntyykään kun ne löytävät uuden tarkoituksen osana taideteosta. Työskentelyprosessissani tunteilla on iso rooli. Niitä haluankin katsojalle välittää, pienen erityisen hetken. Pysäytä ajatuksesi ja tunne työni! Experimenting on different techniques and toying with materials are my passion. Recycling is so much fun; it takes a while to gather all kinds of used goods but it is so rewarding when they find a new purpose in an artwork. Emotions play a big role in my working process. Feelings are what I hope to pass on to the viewer, a brief special moment. Hold your thoughts for a little while and feel my work! Photos: Nooa Katajala 184


Play 190 x 155 x 40 cm mixed media; recycled cuddle toys and toothbrushes 2018

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Nonna-Nina Mäki www.kuvataiteilijamatrikkeli.fi/fi/taiteilijat/2303

https://plus.google.com/u/0/+NonnaNinaMäkiArtist Nonna-Nina Mäki on tamperelainen taiteilija, joka on valmistunut vuonna 1995 Lahden Taideinstituutista. Hänen maalauksiaan on ollut esillä ympäri maailmaa. Hän myös kirjoittaa ja kuvittaa lastenkirjoja, Meri Vaahtopää- lastenkirja ilmestyi huhtikuussa 2018. Meri Vaahtopää on käännetty englanniksi ja tamilinkielinen versio on työn alla. Nonna-Nina maalaa intuitiivisesti symbolistisia, naivistisia sekä hyvin värikylläisiä teoksia, joissa hän käsittelee elämän eri ilmiöitä kerronnallisesti ja monitasoisesti. Vaikutteita hän on ottanut luonnosta, eri kulttuureista sekä alitajunnan maailmoista.

Nonna-Nina Mäki is an artist from Tampere, Finland. She has graduated from the Lahti Fine Art Institution. Her paintings have been shown throughout the world. She also writes and makes art for children's books. Her book A Foamy Sea was released in April 2018. A Foamy Sea has been translated to English, while a Tamili translation is still in the works. Nonna-Nina paints symbolic, naivistic and very colorful paintings with intuition, where she covers life's different phenomenona with multiple levels of meaning. She has got inspiration from the nature, different cultures and from the worlds of subconsciousness.

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Portinvartija / Gatekeeper 190 x 123 cm acryl / mixed media 2017

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Monika Kiviniemi www.kiviniemi.se Asun ja työskentelen Ruotsissa. Olen nykytaiteilija ja teen suurikokoisia, abstrakteja maalauksia. Eräs luovuuteni päätavoitteista on pyrkiä tuottamaan maalauksia, jotka on yksinkertaistettu ja pelkistetty niin, että väri ja rakenne asettuu huomion keskipisteeseen. I live and work in Sweden. I am a contemporary painter and work in large format, abstract painting. In my creativity, one of my main goals is to try to produce paintings that are simplified and pared-down were color and structure are in focus.

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Colours No.1 154 x 138 cm acrylic on linen canvas 2014 189


Ole Skovsmose Sustainability represents hope – maybe also illusions. Considering the solar system, with planets in smooth elliptic movements around the sun, everything appears in balance. But the universe is ever expanding with galaxies drifting apart, and the second law of thermodynamics reveals stability as a deception. Concentrating on our own corner of the universe, our blue planet, nothing appears sustainable. Saber-toothed cats, dinosaurs and mammoths have all disappeared from the earth, together with many more species for which we have not even invented names. Still, natural history might have operated with some kind of long-termed balance. Within the economic order of today, science and technology have made it possible to exploit not only human beings but also nature to a new extreme. This is a threat to everybody and everything. We have reached a historical moment where capitalism is up against the planet. Sustainability might be an illusion, but it is still our best hope. I am a full time artist. I am also a full time researcher, working with mathematics education and philosophy of science. Normally, I keep the two activities separate, but the concern about sustainability, brings them together.

Ole Skovsmose has made exhibitions in galleries and museums in Brazil, Bulgaria, Denmark, England, Finland, France, Japan, The Netherlands, Norway, Portugal, Spain, Sweden, and USA. He has been professor at Aalborg University, Denmark, but is now retired and lives most of his time in Brazil. He has published several books including Towards a Philosophy of Critical Mathematics Education, Travelling Through Education, In Doubt, An Invitation to Critical Mathematics Education, Foregrounds and Critique as Uncertainty.

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Sustainability XVI 62 x 38 cm oil on canvas 2018

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Ole Jakob IhlebĂŚk Ole Jakob IhlebĂŚk, Norwegian painter, born 1948. Living in Fredrikstad, Norway. Educated at Norwegian State Academy, Oslo and SHKS Art College, Oslo, Norway. His artworks are exhibited in several countries, Norway, Sweden, Finland, Germany, the United States, England, Scotland, Latvia and Lithuenia. Represented with woks in Norwegian Cultural Council and Norwegian State Gallery.

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Constellations

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Panu Ruotsalo panuruotsalo.wordpress.com

https://youtu.be/LJJKPap088g

Ruotsalo valmistui Taidekoulu MAA:sta (Helsinki) v.1999, jonka jälkeen hänen teoksiaan on ollut esillä lukuisissa näyttelyissä niin kotimaassa, kuin ulkomailla. Hänen teoksiaan löytyy julkisista tiloista, museoista sekä yksityiskokoelmista. Ruotsalon abstrakti ilmaisu sisältää kiteytetyssä muodossa impressioita ja muistoja luonnosta ja siitä vapaudentunteesta minkä luonto, mukaan lukien ihmiset ympärillämme, tarjoavat. Abstrakti ilmaisu on taiteilijalle välttämätön, ja vetäytyminen esittävästä kuvastosta mahdollistaa myös katsojalle tämän vapauden kokemisen. Ruotsalo itse kiteyttää näin: “Maalaukseni ovat impressioita tunteista, kokemuksista ja kohtaamisista. Niiden lähtökohta on jossain abstraktin ja esittävän välissä. Abstraktin siksi, että se on nähdäkseni ihmiselle alitajuinen ja luonnollinen tapa kokea itseänsä ympäristössä, ja ympäristöä itseänsä. Taide itsessään merkitsee minulle tunteen ja olemassaolon vapautta. Tarve taiteen tekemiseen liittyy suoraan tarpeeseen olla olemassa. Ei iloon tai kurjuuteen, vaan tunteiden ja kokemusten käsittelystä kumpuavaan rikkauteen.”

Ruotsalo graduated from the Art School MAA (Helsinki) in 1999 and later his works have been exhibited in Finland and abroad. His productions are found in museums and public spaces and in private collections. Ruotsalo ´s abstract style includes, in a chrystallized form, impressions and memories of life in a barren and ascetic nature or the magnificent sense of freedom that we get from the nature, including all the people around us. Abstract expression is essential for the artist and giving up the representational dimension brings the sense of freedom also to the viewer. Or as Ruotsalo himself says: ”My paintings are appearances of feelings, experiences and encounters. The basis for them is somewhere in between abstract and representational art. They are abstract because in my opinion, it is a way in which a person can subconsciously and naturally experience one’s self in the environment and the environment in itself. For me art in itself gives freedom to feel and to exist. The need to make art is directly linked to the need to simply exist. It is not linked to just joy or misery, but to the richness that derives from processing feelings and experiences”.

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June 0458 AM 108 x 120 cm akryyli kankaalle / akrylic on canvas 2018

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Pekka Parviainen postiparviainen@gmail.com

Olen helsinkiläinen taidemaalari ja graafikko. Taiteellinen tuotantoni on keskittynyt luonnon itsensä ja ihmisen luontosuhteen kuvaamiseen. Ekologian käsitys luonnosta monimutkaisena vuorovaikusten verkostona, jossa eri lajit vaikuttavat toistensa menestymismahdollisuuksiin on toiminut pohjavireenä viimeaikaisissa teoksissani. Emme ole immuuneja luonnossa tapahtuville muutoksille vaan meidän on aktiivisesti kannettava huolta luonnon monimuotoisuuden säilymisestä. Kaaosteorian mukaan perhosen siivenisku voi saada aikaan hirmumyrskyn, mikä vaikutus onkaan tuon siiveniskun poissaolollla?

I'm a Helsinki based visual artist. The two main themes in my work are Nature itself and man's relationship to it. The ecological way of seeing Nature as a vast network of interactions between different kinds of species has had a deep influence on my recent works. We humans are not immune to the chances occurring in Nature. We must play an active role in the conservation of biodiversity. According to the Chaos Theory a flap of a butterfly wing can create a storm, what is the effect of the absence of the butterfly?

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Interdependence 100 x 120 cm Lyijykynä paperille / pencil on paper 2018 197


Peter Maury Photographic Artist

peter.maury@pp.inet.fi www.kuvataiteilijamatrikkeli.fi/en

Peter Maury on Helsingissä syntynyt valokuva- ja installaatiotaiteilija. Taustaltaan molekyyli- ja evoluutiobiologian tutkija, Maury on taiteessaan liikkunut tieteen ja taiteen rajapinnalla. Ajalla ja tilalla on keskeinen asema hänen teoksissaan, jotka on toteutettu pigmenttivedoksina kierrätetyille ruosteisille rautalevyille: ympäristöolosuhteista ja ajasta riippuvainen hapettumisprosessi värittää ja restrukturoi levyjä muodostaen monisävyisen, kompleksisen kuvakokonaisuuden.

Born in Helsinki, with a background in molecular and evolutionary biology, Peter Maury has in his artistic works, which are based on a self-developed technique, focused on existential issues. Time and space have a central position in them. This is reflected in the choice of material and in the processing of the material also: the works have been carried out as pigment prints on recycled metal plates undergoing corrosion. The timeand environment-dependent oxidation process colours and restructures the plates resulting in a multifaceted image. ”Photography is an art of observation. It has little to do with the things you see and everything to do with the way you see them” - Elliott Erwitt

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Transliminal 100 x 100 cm pigment print on steel 2016 199


Przemek Pawlik – „Soim” irafasdesign@gmail.com facebook/ Przemek Soim Pawlik instagram / soim501_

Synnyin Puolassa, Tychyn kaupungissa vuonna 1983. Minun seikkailuni taiteilijana alkoi graffitaiteesta, joka on osa hiphopkulttuuria. Se ei kuitenkaan riittänyt minulle, vaan päätin siirtää ideani myös tauluiksi. Aloin kokeilla erilaisia tekniikoita, tekstuureja, materiaaleja ja tyylejä. Haluan luoda ja kokeilla uusia asioita jatkuvasti; tämän vuoksi en halua pysytellä vain yhdessä tyylissä. Haluaisin taiteeni olevan mielenkiintoista, ja joka kerralla teknisesti parempaa. Vapaa-aikani käytän taiteeni kehittämiseen. Neljä vuotta sitten muutin perheeni kanssa Suomeen. Luonto antaa minulle rauhaa ja inspiraatiota työskentelyyni. Olen myös liittynyt taideseuraan, joka antaa minulle paljon tukea ja motivaatiota olla yhä tuotteliaampi. Minulla on ollut myös mahdollisuus esitellä teoksiani Osakassa Japanissa ja Galleria Avassa.

I was born in Tychy, Poland in 1983. My adventure with art began from graffiti as part of hip-hop culture. But it wasn’t enough for me, that’s why I decided to put my ideas on canvas. I started to experiment with different technics, textures, materials and styles. I like to create and try new things all the time, for that reason I don’t want to have one style. I would like my art to be more interesting and better technically at any time. I try to work on improving myself during each free moment. Four years ago I had moved with family to Finland. Nature give me peace and inspiration for work. I also become a member of Jarvenpaan art association, witch give me also a lot of support and motivation to be more creative. I had also opportunity to show my artworks in Osaka Japan and represent them together with Ava Gallery this year. 200


Portrait of Sadness 61 x 50 cm akvarelli ja akryyli kankaalle

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Carita Maury www.caritamaury.com

Carita Maury on Espoossa asuva kuvataiteilija. Hän on taidemaalari, joka myös työskentelee kolmiulotteisesti, esimerkiksi installaatioiden muodossa. Hänen suhteensa väriin on kuitenkin aina etusijalla hänen useimmiten puoliabstrakteissa maalauksissaan. Tämän näyttelyn temperamaalauksilla on kosketuspintaa runouteen joka on immateriaalinen kestävä voimavara.

Carita Maury is a Finnish visual artist living in Espoo. She has a preference for painting but she also makes three-dimensional works and installations. The relations of colour are always in focus in these usually half-abstract paintings. In this exhibition the paintings in tempera are dealing with poetry which is a nonmaterial sustainable resource.

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Po-Ethical 89 x 100 cm tempera kankaalle 2018

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Päivi Kukkasniemi www.paivikukkasniemi.com Olen Helsingissä 1974 syntynyt kuvataitelija. Nykyään asun ja työskentelen Järvenpäässä. Maalaan pääasiassa akryyliväreillä, mutta välillä käytän myös muita tekniikoita. Olen osallitunut useisiin näyttelyihin Suomessa ja ulkomailla. Kun maalaan valitsen värin joka houkuttelee minua eniten ... ja kun tarpeeni on täyttynyt, valitsen seuraavan värin. Sotken mielivaltaisesti ja annan tunteiden, kehon ja viettien ohjata katseeni toimiessa johtajana. Jos sotku ei miellytä, pesen sen pois. Joskus vesilätäköt saavat maalata. Kieleni on väri. Tässä näyttelyssä haluaisin muistuttaa kiitollisuudesta ja arvostuksesta, koska nämä tunteet ovat voimia, joilla voi muuttaa maailmaa paremmaksi. Unelmat voivat toteutua. I am a visual artist from Finland. I was born in Helsinki in 1974. Nowadays I work and live in Järvenpää. I paint mostly with acrylics, but I also use another technics. I have participated in several exhibitions in Finland and abroad When I'm painting, I choose a color, which tempts me most ..... and when my needs are met, I choose another color. I mess up arbitrarily and let emotions, body and instincts prevail while the eyes act as a leader. If the mess don’t appeal me, I will wash it away. Sometimes puddles may paint. Colors are my language. In this exhibition I would like to remind you about gratitude and respecting. Because these emotions are a power that can change the world better. Dreams can become real. 204


Soul Rise 60 x 120 cm acrylic on mdf 2018

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Raija Heikkilä www.raijaheikkila.fi

Edessä tyhjä kangas, ei viivaa ei väriä. Levitän väriä, kankaalle aukeaa tila, joka alkaa kertoa tarinaa. Lisään väriä, autan kuvan näkyväksi. Välillä olen kuin labyrintissa, valitsen polun, joka päättyy umpikujaan. Matkan varrella on opittava sietämään pettymyksiä. On uskottava, että polun päästä löytyy jotakin arvokasta. Temperamaalausteni ihmiset, eläimet, tilat, tunnelmat ja tunteet tulevat menneisyydestä, ympärillä olevasta elämästä, mielikuvituksesta, historiasta, tarinoista unohtamatta sattumaa. Toivoisin maalauksistani löytyvän arvoituksellisuutta, ajattomuutta, koskettavuutta, kauneutta ja niiden sisältävän myös toisen mahdollisuuden, toivon, lentämistä... Hiljaa vai lujaa, lähellä vai kaukana, pehmeää vai kovaa, suolaista vai makeaa, vähän vai paljon. Onneksi ei tarvitse valita, tahdon molemmat. Mitä siis haluan. Kaiken ja en mitään.

Empty canvas in front of me, without line, without colour. I'm spreading colour, a space opens on canvas starting to tell a story. I'm adding more colour, helping an image to become visible. Sometimes it is as I'd be in labyrinth, choosing a path with a dead end. One has to learn to stand disappointments on a journey. One has to believe that there will be something valuable in the end of the path. The humans, animals, spaces, athmospheres and emotions of my tempera paintings come from the past, life surrounding me, imagination, history, stories and not to forget, coincidence. I'd hope that one can find my paintings mysterious, timeless, touching and beautiful, and that they also contain second chance, hope, flying... Slow or fast, near or far away, soft or hard, salty or sweet, a little or a lot. Luckily I don't have to choose. I want both. So what do I want. Everything and nothing.

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www.raijaheikkila.fi


Suhtaudun elämään jokseenkin kevyesti / I'm Taking Life Somewhat Lightly 145 x 210 cm tempera 2016

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Raúl Mejía Moreno Raúl Mejía Moreno, is a Colombian plastic artist. He is currently a professor at the University of Pamplona, in the city of Cucuta, Colombia, but his permanent residence is in Espoo, Finland. Mejía has Ph.D. in Painting from the Complutense University of Madrid, Spain. In recent years he has completed studies as a postdoc researcher at the Alvar Aalto University, Helsinki, Finland. Dr. Mejía, has collaborated with scientific research and illustrations in the Digital Magazine of research in Music and Visual Arts "El Artista". In 2012, he published his first book, entitled: "The Symbolism in the Work of Frida Kahlo -Frida the Double Being or Rebis La Piedra Filosofal"; (La Editorial Acadadémica Española). As a painter, Raúl Mejía, he has participated in group exhibitions in Mexico, Colombia, Spain, England and in individual exhibitions in Finland and Spain. His pictorial style is figurative, with surrealistic reveries of strong symbolic and spiritual content, Christianity being one of his strong influences at a thematic and symbolic level.

Raúl Mejía Moreno, es un artista plástico colombiano. En la actualidad se desempeña como profesor de la Universidad de Pamplona, en la ciudad de Cúcuta en Colombia, pero su residencia permanente está en Espoo, Finlandia. Mejía es Doctor en Pintura (2005), egresado de la Universidad Complutense de Madrid, España. En los últimos años él ha realizado estudios como docente investigador en la Universidad Alvar Aalto, Helsinki, Finlandia. El doctor Mejía, ha colaborado con trabajos de investigación científica e ilustraciones en la Revista Digital de investigaciones en Música y Artes plásticas “El Artista”. En el año 2012, publicó su primer libro, titulado: “El Simbolismo en la Obra de Frida Kahlo -Frida el Ser Doble o Rebis La Piedra Filosofal” (La Editorial Acadadémica Española). Como pintor, Raúl Mejía, ha participado en exposiciones colectivas en México, Colombia, España, Inglaterra y en exposiciones individuales en Finlandia y España. Su estilo pictórico es figurativo, con ensoñaciones surrealistas de fuerte contenido simbólico y espiritual, siendo el cristianismo una de sus fuertes influencias a nivel temático y simbólico.

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El Angel de la abuela Vilma

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Riitta Nelimarkka Professor,DA,Artist

SENECA Chairman of Nelimarkka foundation riitta@nelimarkka.com www.nelimarkka.com www.bonga.fi www.facebook.com/riitta.nelimarkka.9 http://youtu.be/slSqU0L1QWM http://youtu.be/G6jHpFIXMXc Helsinkiläinen Riitta Nelimarkka on kansainvälisesti tunnettu, monipuolinen taiteilija, jonka repertuaariin kuuluu piirustuksia, maalauksia, grafiikkaa, animaatioita, taide- ja runokirjoja sekä taidetekstiilejä. Esimerkkeinä Seitsemän veljestä, Suomen ensimmäinen pitkä animaatio, Oceania, Babylonia, Giovanna, Flygelise, Elise loves life ja Easy Living -sarjat. Palkitun ja paljon kiitosta saaneen Nelimarkan taiteelle ovat ominaista hehkuvat värit, nopeat assosiaatiot, ja kekseliäs aforistiikka sekä herkkyys ja runollisuus yhdistyneenä yllättävään huumoriin ja älylliseen itseironiaan. Hänen 2000-luvun tuotantonsa muodostuu laajoista piirustus-, öljytyö-, serigrafia-, fotomontaasi- ja villareliefikokoelmista sekä elokuvista ja videoista. Useissa teoksissa keskushahmona ja instrumenttina on taiteilijan alter ego Elise. Hän on myös tehnyt tilaustöitä muotokuvista monumentaalisiin ryijyihin. Teoksia on esillä yksityiskodeissa, julkisissa rakennuksissa, kansainvälisissä yrityksissä, hotelleissa sekä Suomen suurlähetystöissä ulkomailla. Nelimarkka on saanut töillään lukuisia palkintoja kansainvälisillä festivaaleilla ja biennaaleissa. Nelimarkalla on ollut muun muassa Amos Andersonin taidemuseossa, Helsingin Taidehallissa, Tukholman Hallwylska musetissa, Liman kansallismuseossa, Venäjän taideakatemian galleria Tsereteljissä Moskovassa, Hannoverin maailmannäyttelyssä ja FIDMmuseossa Los Angelesissa sekä Maisosn L´ Europessa Pariisissa.... Bongan Linnassa Loviisasa on pysyvästi esillä pari sataa Nelimarkan työtä noin 40 vuoden ajalta.

Professor Riitta Nelimarkka is one of the most exciting artists in Finland today. Her hallmarks are a fearless use of colour, her feel for movement and joy, her finely-drawn lines, her semi-abstract figures, her remarkable humour and strong erotic charge. Riitta Nelimarkka began her career in cinema. Her award-winning, The Legend of Sampo (1972 – 1974) and The Seven Brothers (1979) were pioneers in the history of Finnish animaton film. She later broadned her palette to other visual arts, from painting to textiles. Major exhibitions of her work have been held in, among other, Helsinki (Amos Anderson & Taidehalli), Stockholm (Hallwylska), Lima, (National Museum), Moscow (Gallery Tseretelji), Hannover (World Expp), Los Angeles (FIDM), Paris (Maison de l´Europ) and Monaco (Maison de l´Amerique). She has a permanent exhibition of some 200 art works at the Bonga Castle in Loviisa she has restored with Jaakko Seeck. Among her latest works are the glass painting 13 meters long at the Hietaniemi pavilion in Helsinki and the visualisation & animation drawing on some 1000 pictures for the Debussy´s Preludes conducted by Hannu Lintu. Winner of numerous prestigious distinctions, (such as Venice, Giffoni, Bologna, Brno, Yerevan) Riitta Nelimarkka was awarded an honorary professorship in 2008 and the French Ordre des Arts et des Lettres, le grade d´officier in 2016. 210


Ma Donna, sarjasta La Valse / from the series La Valse 90 x 140 cm fotomontaasi alumiinille / photo montase on aluminium 2016

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Rodrigo Cid

Photo: Íris Zanetti

Rodrigo Cid is a carioca plastic artist and philosopher, who investigates the techniques of painting, collage and assemblage. Their idiosyncratic features can be noted in the use of black and metallic colors, the attention to fields of color, repetition of simple elements, and critical, conceptual, or sometimes obscure themes. Although practically self-taught, his inspirations come from within art history: from Donald Judd's minimalism to Mark Rothko's fields of color. Its theme reveals critiques of the aesthetic, ethical, political and religious values of contemporary society, and presents technical research on the interpretative possibilities of colors and simple elements. Artist since 2017, Cid has already held individual and collective exhibitions in Rio de Janeiro, Belo Horizonte and Ouro Preto.

Rodrigo Cid é um artista plástico e filósofo carioca, que investiga as técnicas da pintura, da colagem e da assemblagem. Suas características idiossincráticas podem ser notadas no uso do preto e de cores metálicas, no investimento em campos de cores, nas repetições de elementos e nas temáticas críticas, conceituais ou, por vezes, obscuras. Embora seja praticamente um auto-didata, suas inspirações vêm de dentro da história da arte: do minimalismo de Donald Judd até os campos de cor de Mark Rothko. Sua temática revela críticas aos valores estéticos, éticos, políticos e religiosos da sociedade contemporânea, e apresenta pesquisas técnicas sobre as possibilidades interpretativas das cores e de elementos simples. Artista desde 2017, Cid já realizou exposições individuais e coletivas no Rio de Janeiro, em Belo Horizonte e em Ouro Preto. 212


Kertymä / Accumulation Sarja: Kultainen henki / Series: Golden Spirit 40 x 35 cm maalattu emali, puusepän työ, puukooste / painted enamel , carpentry, assembly of wood 2017 213


Sackarias Luhanko I have in recent years explored the weather's impact on the color and where had nature as a clear starting point in my painting. The paintings have been emerging for several weeks outdoors while I tried to control the chaos process that occurred when the rain has mixed color and sun dried motives. In my abstract landscape paintings I assume sky, forest, clouds, fog, rivers or just a feeling of being close these things. The paintings have not arisen easily or naturally. It's often failure to failure in the end still has landed in the final image and where I found the language and expressions that I was looking for. Painting can be therapeutic and relaxing, but sometimes painting and creation be a curse and a perpetual war with the materials and the expression that I seek. But the need of the creative will always cold, no matter how difficult it is for the moment. Zacharias Luhanko

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Nature Study 120 x 100 cm acrylic, rain, oilpaint and wood stain

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Sakari Kannosto Kuvanveistäjä / sculptor

Sakari Kannosto s. 1973 on helsinkiläinen kuvanveistäjä. Hän valmistui kuvataideakatemiasta vuonna 2005. Kannosto tutkii teoksissaan usein kuluttamista sekä ihmisen suhdetta luontoon. Arkki II (kajakki) teos on dystopinen kuvaelma hetkestä, jolloin vesi nousee ja meidän on paettava keinolla millä hyvänsä. Arkki II (Kayak) on osa laajempaa Viimeisellä rannalla näyttelykokonaisuutta. Teos käsittelee ilmastonmuutosta sekä perintöä, jonka jätämme tuleville sukupolville.

Sakari Kannosto b.1973 is a sculptor based in Helsinki. He graduated from Academy of fine arts in 2005. In his works he often studies consumption and mans relationship with nature. The Arc II is a dystopic scene of the moment when the water is rising and we have to escape any way we can. The work is part of a larger exhibition, At the last shore. The Arc II deals with climate change and the legacy we leave to future generations. Veistos kuvassa: Varjoisat vedet Keramiikka, lasite Statue in portrait: Shadowy Waters Ceramic, glazing 2018 Photo: Veikko Somerpuro

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Arkki II (Kajakki) / The Arc II (Kayak) Sarjasta: Viimeisellä rannalla / From the serie: At the Last Shore 400 x 120 x 80 cm Kolarimoottoripyörien ja lumikelkkojen osat, teräs, valmisosat Recycled parts from crashed motorcycles and ski-doos, steel, readymade 2017 Photo: Sakari Kannosto

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Sari Tenni www.kuvataiteilijamatrikkeli.fi/fi/taiteilijat/2620

"Ihmisten enkeleistä saama lohtu on innoittanut minut luomaan nämä teokset." Tässä sarjassa öljymaalauksia Sari Tenni halusi antaa kaikille voimaa, eikä vain kuvata jo olemassa olevaa maailmaa. Tennillä on taipumusta kiinnittää huomiota ympäröivän maailman iloihin ja murheisiin. Erityisesti taiteilijaa on koskettanut vaikeissa sosiaalisissa olosuhteissa eläneiden ihmisten kodeista löytyneet posliiniset enkelit. Maalausprosessin aikana Tenni on tehnyt useita tutkimuksia enkeleistä. Teokset ovat hänen omia tulkintojaan enkeleistä ja vaikutteita on saatu myös saduista ja taiteen historiasta. Sari Tenni (Ruotsinpyhtää, 1974) asuu ja työskentelee Helsingissä. Sari Tenni valmistui Kuvataideakatemiasta kuvataiteen maisteriksi vuonna 2010 sekä Taideteollisesta korkeakoulusta taiteen maisteriksi vuonna 2000. Hänen teoksiaan on Paulon-säätiön, Salon taidemuseon ja Suomen Valtion taidekokoelmissa.

“The consolation received from angels by humans is what inspired me to create these pieces.” In her series of oil paintings Sari Tenni wanted to give everyone strength: not only capture the world that is already in existence. Tenni has a tendency to give attention to the world around her in its joys and sorrows. Especially what has touched the artist are porcelain angels that were found in the homes of people who were living in very bad social conditions. During the painting process, Tenni has done several researches on angels. The works are, her own interpretations of angels, and influences have also been taken from fairy tales and the history of art. Sari Tenni (Ruotsinpyhtää, 1974) lives and works in Helsinki, Finland. Sari Tenni graduated from the Academy of Fine Arts in 2010 and from the University of Art & Design in 2000. Her works are in the collections of the Finnish State Art Collections, Paulo Foundation and Salo Art Museum. Jakim Bohas

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Ad Astra 150 x 140 cm oil on canvas 2018 219


Sari Vennola www.sarivennola.fi

Paperinuket Olen helsinkiläinen valokuvataiteilija, joka käsittelee kuvissaan ihmisen vanhenemista ja muutosta. Paperinuket sarjassa olen kuvannut iäkkäämpiä naisia poseeraamassa viehättävissä alusasuissa. Ennen kuvauksia mallit ovat kokeilleet erilaisia alusasuja ja kauniita korsetteja, pitsisiä hörhelöitä - näin kuvaushetkessä on ollut ripaus lapsuuden pukuleikkiä, jolloin puettiin äidin vanhoja vaatteita ylle ja leikittiin "hienoja naisia”. Paperinuket ovat nukeista hauraimpia. Ne rypistyvät ja kuluvat. Ne kantavat muistoja mukanaan kuten rypyt, jotka kertovat tarinaa kokemuksista. Vanhetessaan ihminen kantaa kokemuksiaan ja muistojaan mukanaan. Toivon, että osaamme arvostaa ja hyödyntää sitä viisautta, joka meille kertyy ajan kuluessa.

Paper Dolls I am a photographer from Helsinki and I am interested in exploring the themes of ageing and change in my work. Paper Dolls is a series of works in which I have photographed aged ladie posing in charming underwear. Prior to stepping in front of the camera, the women have tried on all sorts of underwear and beautiful corsets, fluffy lacy things. This gives the photo sessions a sense of childhood dress-up games, girls trying on their mother`s dresses and playing at being ”fine ladies”. Paper dolls are the most fragile of dolls. They become wrinkled and worn. They are carriers of memories, just like the wrinkels that tell the story of our experiences. When we are ageing we carry our experiences and memories with us. I hope that we can appreciate and take advantage of that visdom in our plans of the future.

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Päiväuni sarjasta Paperinuket / Daydream from series Paper Dolls 100 x 70 cm pigmenttimustevedos alumiinilla / ink jet print on aluminium 2010

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Sini Hodju

sinihodju003@gmail.com Instagram: sinihodju Facebook: Sini Hodju

Se on lankaa. Olen aina pitänyt langoista. Mieleeni palautuu äidin ja mummon opit, villasukkien kutomiset ja koulun käsityötunnit. Säännöt. Vapautan itseni ja annan langalle luvan purkautua lankarullasta. Se laskeutuu pakottomasti kerros kerrokselta. Seuraan värien satunnaista vuorottelua, värillisiä kiharaisia viivoja ja kuvioita. Muodostuu tila. Arvaamaton kokonaisuus. Tunnen iloa purkaessani seuraavan lankarullan. Asun ja työskentelen Helsingissä. Valmistuin taidemaalariksi Vapaasta taidekoulusta 2016. Hyödynnän teoksissani jo muussa käytössä ollutta materiaalia tai muille tarpeetonta ylijäämää.

They are yarns. I have always liked them as material. They remind me about mom's and grandma's lessons, woolen socks and handcraft in school. It is about rules. I release myself and let the ball of yarn to unravel. It descends freely. I follow the random alternation of colors, colored curly lines and patterns. There is space. An unpredictable whole. I feel the joy of unraveling the next spool. I graduated as a painter from the Free Art School 2016 in Helsinki, Finland. I work and live in Helsinki. I'm using material that is already used or is unnecessary for somebody else. Sini Hodju, 2018

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Söhö 28 x 19,5 cm sekatekniikka / mixed media Photo: Terhi Ylimäinen 2017

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Sirkka-Liisa Lonka www.lonka.fi Syntyi Kouvolassa, asuu Helsingissä. Opiskeli Suomen Taideakatemian koulussa 1963 - 1967, grafiikkaa 1968. Osallistumisia erilaisiin kurssimuotoisiin taidetyöpajoihin grafiikassa ja käsintehdyssä paperissa, toiminut myös taideopettajana Aasiassa, Afrikassa ja Latinalaisessa Amerikassa. Valtakunnallisen debyyttinäyttelyn palkinnon jälkeen vuonna 1970 hänellä on ollut yhteensä 70 yksityisnäyttelyä, useimmat kutsuttuna eri museoihin tai kulttuurikeskuksiin myös Tanskassa, Saksassa ja Puolassa sekä Euroopan ulkopuolella Botswanassa, Egyptissä, Japanissa, Nicaraguassa, Perussa, Arabiemiirikuntien liitossa ja Zimbabwessa. Hänen teoksiaan on eri museoissa ja taidekokoelmissa Suomessa sekä ulkomailla Botswanassa, Egyptissä, Etelä-Afrikassa, Japanissa, Malesiassa, Mosambikissa, Nicaraguassa Perussa ja Romaniassa. On Nicaraguan ja Perun taiteilijaliittojen kunniajäsen. Viettänyt 12 talvikautta Perussa Amatsonin sademetsässä ja viimeisimpien maalausten teema on ollut viidakon fauna ja floora. Sirkka-Liisa Lonka Born 1943 in Kouvola, Finland, lives in Helsinki. Studied in Finnish Academy of Fine Arts 1963 - 1967, and Department of Graphic Art 1968. Additional advanced training in graphic art, painting and hand-made paper. Participation in numerous international workshops and trainings through the world; has served as art instructor in Asia, Africa and Latin America. After the national debut exhibition award in 1970 has exhibited altogether 70 exhibitions mostly invited in different Museums or Art Centers in Finland and also had invited solo exhibitions in the Art Museums and Art Galleries in Denmark, Germany and Poland, and outside Europe in Botswana, Egypt, Japan, Nicaragua, Peru, United Arab Emirates and Zimbabwe. Her works are in different collections and museums in Finland and abroad in Botswana, Egypt, Japan, Malaysia, Mozambique, Nicaragua, Peru, Romania and South Africa. She has appointed the Honorary Member of Nicaragua and Peru Art Associations. She spent last 12 winter periods in the deep of Peru’s Amazon Rainforest and it has been the topic in her last paintings. 224


Kolibrien koti 80 x 100 cm munatempera-รถljy 2017

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Sirkku Katriina Ala-Harja instagram: sirkkualaharja Facebook: Sirkku Katriina Ala-Harja Art

Työskentelen Harakan saaressa, Helsingissä. Soudan työhuoneelleni ja talvisin kuljen jäiden yli saarelle joka on yhtäaikaa läsnä ja kaukana. Luonnolla on valtava merkitys työskentelyssäni. Maalaukseni ovat abstrakteja maisemia. Työskentelyssäni tuon nykytaiteeseen kiinalaiseen tussimaalaukseen ja maisemaalauksen filosofian. Siinä pyrkimys on luoda ihannemaisema jonka katsominen rauhoittaa mielen ja luo tasapainon katsojan sisälle. Työskentelen isoilla siveltimilla ja lastoilla intuitiivisesti liikkeen kautta etsien samaa kokemusta jonka koen luonnossa, metsässä tai merellä. Maalaan tilaa ja liikettä, taltioin ja venytän väreiksi hetkiä. Optiset värikerrokset kuultavat ja sykkivät valossa. Maalaus liikkuu sekä syvyyssuunnassa että katsojan mielessä kuin katsoisi meren pintaa. Kaupungistuvassa maailmassa luontosuhde on katoamassa monilta. Usein taide korvaa sen. Luon taiteessani siltoja näiden välille, jotta luontosuhde kestäisi intuitiivisena tilana katsojan sisällä. Maalaus hengittää.

I work on an island study called Harakka in Helsinki. I row to my studio and at winters walk over the frozen sea. This island studio has a great impact on my work as it is simultaneously close yet far away from the city. My paintings are abstract but content elements that are recognizable. I try to capture the movement of the sea or wind and light and create a poetic visual image of movement. I work with layers of colors and with the opacity create a abstract space that has a pulse. Almost as if the paining was breathing. I work intuitively with consious movement as the basis of my work lies in Chinese brush and landscape painting philosophy. The ideal landscape that is a window into inner balance and peace. In the urban way of life, many people have already lost a direct experience of nature. Often this is replaced with art. I paint to create bridges between these worlds, to remind the viewer of the intuitive inner experience in nature. I want my paintings to breathe.

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Floating in the Deep Blue Sea 120 x 120 cm akryyli kankaalle / acrylic on canvas 2018 227


Sonia Lima

Sonia Lima is a Brazilian plastic artist with an academic degree in Industrial Design and Arts from Santa Cecilia University in the city of Santos – Sao Paulo State. She believes that it would be almost inevitable to escape of her vocation and desire to make art she’s profession, since when she lived in her mother's atellier, Nadir Azevedo, also a artist. She’s art style is concretism in acrylic paint on canvas, with geometric traces and a palette of colors quite balanced. Sonia has already exhibited in major Brazilian cities, as well as countries such as Finland, Austria and France.

Sonia Lima é uma artista plástica brasileira com formação acadêmica em Desenho Industrial e Artes pela Universidade Santa Cecília na cidade de Santos/SP. Acredita que seria quase inevitável fugir da vocação e da vontade de fazer da arte sua profissão, pois desde cedo frequentava o Atelier de sua mâe, Nadir Azevedo, também pintora. Suas obras são concretistas em tinta acrílica sobre tela, de traços geométricos e uma paleta de cores bastante equilibrada. Sonia já expos em grandes cidades brasileiras, além de países como Finlândia, Áustria e França.

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Sophie Schubakoff s.schubakoff@gmail.com www.schubakoff.com

Sophie Schubakoff syntyi vuonna 1984, Suomen kansalaiseksi. Hän saavutti Kuvataiteen Maisterin arvon vuonna 2011 Kuvataideakatemiasta Helsingissä. Hän on näytellyt teoksiansa ympäri maailmaa: New Yorkissa, Monacossa, Lontoossa, Firenzessä, Pariisissa, Helsingissä ja monissa muissa. Hän on voittanut Anita Snellman stipendin, Taidekeskus Salmela stipendin, Chianciano-palkinton Lontoossa ja Art of Baswaren julkisen suosikkipalkinnon. Sophie on kehittänyt ominaistyyliään, joka pohjautuu veden alla ovelaan inspiraatioon. Hänen maalauksensa koostuvat psykologisista peileistä, nykyisistä kysymyksistä, samalla heijastelen huumoria ja leikkimielisyyttä. Hän flirttaa vedenalaisen maailman kuvastuksella, jotka yhdistää kohteen, veden alla ja yllä, ilmentäen rajoittaman kerronnan. Hänen maalauksensa ovat sopeutuvia ympäristöön aivan kuten Sophie hänen kosmopoliittisen taustansa ansiosta, joka mahdollistaa erilaisten kulttuurien yhteisymmärryksen.

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Sophie Schubakoff was born in 1984, Finnish nationality, received her Master’s Degree in Fine Arts in 2011 from Kuvataideakatemia in Helsinki, Finland. She has exhibited around the world in: New York, Monaco, London, Florence, Paris, Helsinki and many more. She has won the Anita Snellman Grant, Taidekeskus Salmela scholarship, Chianciano Award Exhibit London, and Art of Basware public favorite award. Sophie has been developing her signature style, which is deeply inspiration by water. Her paintings consist of psychological mirrors, contemporary conundrums, whilst still embodying humor and playfulness. She flirts with the imagery of an underwater world that distorts the subjects and merges them together to conjure an unrestricted narrative. Her paintings adapt to the surroundings just like Sophie with her cosmopolitan background of moving around as a child allowing a diverse understanding of different cultures.


Mont' on mulla morsianta Op.100 Nr.45 Säveltäjä Yrjö Kilpinen 76 x 122 cm akryylimaalaus / acrylic painting 2016 Tämä maalaus on sarjasta ”Liedien Evoluutio” joka kietoo yhteen henkilökohtaisen juurteni etsimisen ja tutustumisen isoisääni Yrjö Kilpiseen, hänen musiikillisen perintönsä kautta. Tämä oli sopiva hetki elvyttää ja tulkita hänen sävellyksiään nykyisellä maalaustyylilläni. Koska Yrjö Kilpinen laittoi runon musiikkiin, olen pyrkinyt seuraamaan hänen metodiaan ja sisällyttää yksinlaulut maalauksiini. Sanoitus Kanteletar.

This painting is from a series called "Lieds Evolution" that takes me on a journey getting to know my grandfather Yrjö Kilpinen through his musical legacy. This was a perfect time to revive his compositions with my contemporary visual interpretations. As Kilpinen arranged poetry to his Lieds I have attempted to follow in his method by taking his Lieds and letting them inspire my paintings. My hope is to share a deeper connection together by creation; his sound and my vision. Poetry by Kanteletar.

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Tanja Ahola www.tanjaahola.net Tanja Ahola tekee taiteellista tutkimusta liikkeen merkityksestä ihmiselle. Hänen pyrkimyksenään on löytää inspiraatio hetkessä tapahtuvista mielenliikkeistä ja läsnäolon laadusta. Hänen maalauksissaan liikkeellä ja tanssilla on merkittävä rooli. ”Yritän ymmärtää ihmisen osaa median, teknologian, tieteen, politiikan ja viihteen puristuksessa. Mitä rationaalisempi kuva ihmisestä voidaan muodostaa, sitä enemmän syntyy kaipuuta selittämättömälle. Koen, että selittämättömän kanssa oleminen on tässä ajassa ensiarvoisen tärkeää, jotta ihminen voisi löytää paikkansa.” Tanja Ahola on valokuvaaja ja kuvataiteilija. Hän valmistui vuonna 1998 Taideteollisesta Korkeakoulusta taiteen maisteriksi. Hän asuu ja työskentelee Helsingissä. Tanja on katsonut ihmisiä kameran linssin läpi jo kaksikymmentä vuotta, kouluajoista lähtien hän on saanut työskennellä valokuvaajana ja graafisena suunnittelijana maamme parhaiden teatterin, tanssin ja musiikin tekijöiden kanssa. Hänen työnsä on ollut monipuolista luomista ulottuen taiteilijoiden visioiden toteentuottamisesta esittävän taiteen dokumentointiin ja ainutkertaisten ihmisten henkilökuvaukseen. Lisäksi hän on luonut omintakeista juliste- ja markkointikuvataidetta ja lavastanut näytelmiä. Hän laajensi lopulta ilmaisutekniikkaansa maalaukseen vuonna 2011. Hänen vahvuuksiaan maalarina on erityisesti valokuvauksen tuoma kokemus – tämä vaikuttaa valoon, syvyyteen ja liikkeeseen – maalauksen olennaisiin asioihin. Tanja osaa vangita tunnelman maalauksiinsa, ikäänkuin ”luoda näyttämön”. Tekijänä hän on pelkäämätön ja kokenut taiteen monilla eri saroilla. Tanja kokee olevansa tärkeässä osassa taiteen kentällä: sillanrakentajan roolissa menneelle ja tulevalle.

Tanja Ahola uses art to explore the meaning of motion for human beings. She seeks inspiration from the drifting states of mind and the quality of presence in the fleeting moment. Movement and dance play an important role in her paintings. "I try to understand the role of the human being under the pressures of media, technology, science, politics and entertainment. Our increasing rationality about ourselves emphasizes the need for the irrational and unexplainable. I feel that being with the mystery in us is of central importance in this age, so that as humans we can find our place." Tanja is a photographer and a painter. She graduated as a Master of Arts from the Helsinki University of Art and Design in 1998. She lives and works in Helsinki. She has observed people through the lens of a camera for twenty years. Since her years at the university she has worked as a photographer and graphic designer with the most renowned names in the theatre, dance and music scenes in Finland. She has applied her diverse creativity to the production of artists’ visions, documenting the performing arts and portraying unique individuals in photographs. She is also an innovative producer of unique poster and marketing artworks. As an artist Tanja is fearless and experienced in many different fields. She expanded her expression and technique to painting in 2011. Her strength as a painter is her background as a photographer as her intimate relationship to light, depth and movement provide the essential ingredients of her painting. Tanja has a unique ability to capture the feeling of a moment. Her canvas has the quality of a stage that gently supports the fragile unfolding of the painting. Tanja feels she is in contact with her calling through the arts. She is a bridge builder between the past and the future. 232


Flamencotanssijat älypuhelimien kanssa / Traditional Dancers With Smartphones 155 x 130 cm akryyli kankaalle / acrylic on canvas 2018

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Tarmo Paunu

”Kirjallisuudesta tulee mieleen 1500 –luvun häirikkö Gargantua, joka kuseskeli Pariisin katoilta porvareitten päälle hedelmöittääkseen heidän estoista kuihtuneet aivonsa. Tästä Francoise Rabelaisin kirjoittamasta riehakkaasta tarinasta on lähtöisin kaikki jäykistyneet arvot päälaelleen heittävä karnevalismi ja underground, `markkinatorien suuri nauru`. Tarmon maalaustekniikka naureskeleekin tiukkistaiteelle: Ikäänkuin vahvakourainen jättimäiseksi kasvanut kakara-Gargantua maalaisi vasurillaan huolettomasti maailman surkuhupaisuutta Tammerkosken mustanmakkaran pyörteissä kaikkine kikkimausteineen. ” – Erkki Pirtola

“From literature this brings to mind the 16th century troublemaker Gargantua, who pissed on the bourgeoisie from Paris rooftops to invigorate their inhibited brains. This crazy story by Francoise Rabelais is at the root of carnivalism rejecting all stuffy values and underground, “the great laugh of market squares”. Tarmo’s painting technique laughs at strict art; it’s as if a strong-fisted child Gargantua grown into a giant casually painted the tragicomic world from a unique perspective.” – Erkki Pirtola

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Tatu Vuorio www.tatuvuorio.fi

Taiteellisessa työskentelyssäni keskeistä on kokeellinen työskentely. Tämän kaltaisen tekemisen kautta muodostuu uutta tietoa prosessista jota voin analysoida suhteessa prosessin myötä valmistuneisiin teoksiin. Tällaisen tutkivan taiteellisen työskentelyn avulla olen voinut sitoa työskentelyni osaksi taiteellista tutkimusta ja uuden tiedon tuottamista. Taiteellisen työskentelyni ensisijainen tarkoitus on korkealaatuinen taiteellinen työskentely, joka on sanallistettavissa taiteelliseksi tutkimukseksi. Taiteellisessa työskentelyssäni intuitio ilmenee erilaisten materiaalivalintojen, työskentelyvälineiden ja työskentelytapojen sekä niiden keskinäisten vuorovaikutus-suhteiden ja sovellusmahdollisuuksien muodossa. Käytän teoksieni materiaalina läpivärjättyä MDF levyä, joka valmistetaan kierrätys kuidusta. Tämä materiaali on ohjannut minua löytämään aineellisia oivalluksia. Esimerkiksi materiaalissa ilmenevän veistetyn kohdan näkymisenä maalatulla pinnalla mustana piirrosmaisena viivana, jonka ansiosta on muodostunut käsitys maalaustaiteen ja kuvanveiston mahdollisuuksien rajapinnasta. Tämän kautta veistoksellinen lähestymistapa on avannut työskentelyyni mahdollisuuden liikkua poistamisen ja lisäämisen menetelmiä hyväksi käyttäen, sekä teoksen sisälle päin, että ulos päin. Tällaisen rajoja rikkovan työskentelyn avulla olen päässyt uudelleen määrittelemällä maalaustaiteen ja kuvanveiston materiaalisia ja sisällöllisiä suhteita, jonka kautta on kehittynyt minulle omalaatuinen, tekninen, materiaalinen ja sisällöllinen ilmaisu, jota voidaan arvioida osana informalistisen taiteen perinnettä.

The central part of my artistic work has been experimental work. Through this kind of work, new information of the process has been accumulated, which has been analyzed in relation to the artworks resulting from the process. This type of analytical artistic work has allowed me to establish my art as a part of artistic research and the production of new information. The primary purpose of my artistic research is high-quality artistic work, through which I have produced visual material, information that can be materialized as artistic research. My works are made on black colored MDF board, made from recycled material. This material have guide me to found material-related insights. For example in the way a sculpted part in the material used appears on the painted surface as a black drawing-like line, which has led to a concept of a border between the possibilities of painting and sculpting. As a result, the sculpting approach has opened up a possibility in my work to move around by using methods of subtracting and adding, both into and out of the artwork. This kind of crossborder work has allowed me to redefine the material and content relations of painting and sculpting, through which I have developed a unique expression of techniques, materials, and content, which can be evaluated as a part of the tradition of informalist art. 236


Alla pohjantähden 70 x 70 cm öljy läpivärjätylle MDF-levylle / oil on black colored MDF board 2018

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Teresa Asmar teresa.asmar@gmail.com

http://teresaasmar.blogspot.com.br Contemporary artist, with expressionist language. Her focus in painting are abstract figures and colours. She has received many prizes for her work which The Premium of Travel’s painter to Paris, France in 1985, gave the Roberto Marinho’s Foundation. She has taken part on collective and individual exhibitions. Among them, for the National Museum of Fine Arts /MNBA in Rio de Janeiro, which possesses two of her works on painter and engrave at XX century at them permanent Collection. She also has many paintings at Public and Private Collections in Brazil and abroad as well. She’s also the author of very important masterpiece entitled “Ecological Mural -Homage to Chico Mendes”, about the world famous ecologist from the Amazon Forest, shown at State Library on the Rio de Janeiro at the Exhibition Rio Eco-92, it was catalogue and published at the United Nation’s Cultural Agenda - ONU. Exhibitons in New York, Paris/Louvre, Finland, MNBA/RJ/Brazil, MNH/RJ/Brazil

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Barcos/Urca 50 X 50cm A/tela

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Titti Hammarling www.tittihammarling.com Jag målar i olja. Motivvalen är enkla former i en diffus verklighet. Stillhet och spänning möts. Du och jag. Vi och världen. Liv och död. Jag dras till det nervigt fulvackra. Det är människor, landskap, djur, hus och diverse ting. Ingenting för perfekt. Ursprungligen är jag psykolog och har sedan många år arbetat som konsult inom rekrytering och ledarutveckling. 1994 började jag måla. Efter olika kurser i teckning, kroki och måleri gick jag 1995-2008 i privatundervisning hos konstnären Åke Arph. Med Åkes hjälp kunde finna min bas och mitt uttryck i konstnärskapet. Från att ha känts som två separata världar flyter psykologin och måleriet idag ihop till en helhet. Jag utforskar mänskliga villkor och det som utspelar sig i våra identiteter och relationer. Med penseln fångar jag nyanser i tillvaron. Ingen tillvaro är enbart enkel eller enbart svår. Ingen relation är lösningen på vårt sökande. Alltså målar jag vidare. Jag har ställt ut i bl.a. Helsingfors, Stockholm, Berlin, London, Paris, Barcelona, New York, Florens, Chianciano, Dublin och Porto. Sedan 2013 bor jag på en liten ö i Stockholms skärgård. Där har jag också min studio.

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I paint in oil. The choices of motif are simple shapes in a diffuse reality; tranquility and tension meet. I am attracted to the bold beauty of ugliness; people, landscapes, horses, houses and diverse objects. Nothing is perfect. Originally, I am a psychologist and for many years now I have worked as a consultant within recruitment and leadership development. In 1994, I started to paint. After various courses in drawing, life-drawing, and painting I studied privately with the artist, Åke Arph between 1995-2008. With Åke’s help I was able to find my base and my artistic expression. From seeming like two separate worlds, today psychology and painting are blending together to form a whole. I explore the human condition and what happens in our identities and relationships. With the brush I capture the nuances of our existence. No life is purely simple or purely complicated. No relationship is the solution to our searching. That is why I keep on painting. I have exhibited, for example, in Helsinki, Stockholm, Berlin, London, Paris, Barcelona, New York, Florence, Chianciano, Dublin and Porto. Since 2013 I live on a small island in the Stockholm archipelago. There I also nowadays have my studio.


Tombo 120 x 150 cm oil on canvas 2017

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Topi Ruotsalainen www.topiruotsalainen.fi

Topi Ruotsalaisen maalausten keskeinen aihe on ihmiset. Levein siveltimen vedoin, jotka voidaan rinnastaa impressionistiseen valon tunnelman vangitsemiseen, hän antaa ihmisten ilmaantua ja tulla näkyviin. Joskus yksin. Usein ryhmissä. Maalausten tapahtumat ovat arkisia. Hahmot piilottelevat jossain itsestäänselvyyksien ja pinnallisuuden takana. Hänen taiteensa tarkkailee ja tutkii. Ruotsalainen etsii arjessa näyttäytyviä hetkellisiä merkityksiä, pieniä säröjä ja valon pilkahduksia arjen harmauden keskellä. Yksittäisiä ja eriasteisia tunteen töytäisyjä - riemun, murheen tai ihmetyksen repeämiä maailmassa, jossa aiemmin taustalla pysytellyt synkkä pohjavire tuntuu nyt jotenkin nousseen pintaan. Ruotsalaisen maalauksissa on usein jännitteinen ja jotenkin lavastetun uhkaava tunnelma. Topi Ruotsalainen syntyi Kuopiossa 1979. Hän valmistui Kuvataideakatemiasta ja Taideteollisesta korkeakoulusta. Hänen töitään on ollut näytteillä lukuisissa Euroopan maissa sekä Yhdysvalloissa. Hänen teoksiaan löytyy useista merkittävistä taidekokoelmista Suomessa.

The central motif in Topi Ruotsalainen's paintings is people. With brush strokes that are reminiscent of the impressionists' way of capturing the light and the atmosphere, he lets people emerge. Sometimes alone. Often in groups. The situation is everyday, realistic. The figures jostle behind the superficial and the obvious. His art observes and investigates. Ruotsalainen has gone on the search for fleeting meanings, tiny cracks, brief glimpses of light amidst all the grey ordinariness. His paintings depict isolated jolts of emotion of varying intensity - small bursts and ruptures of joy, sorrow and wonder in a world where an undertow of gloom appears to have emerged onto the surface. Ruotsalainen has a dark, almost staged feeling to his paintings. Subtle tensions and the feeling of a mysterious threat seems to underly the artwork. "In my paintings the children are representing the future and sustainability. They are always the inheritors of the space they are depicted in. With children, ever-present, is a sense of loss and nostalgia. And just by their presence, they are reminding us that we should try to do better leaving the best kind of world to our future generations." Topi Ruotsalainen was born in 1979 in Kuopio, Finland. He studied at the Finnish Academy of Fine Arts in Helsinki. His works has been exhibited in a number of European countries, and the United States, and are found in several notable collections in Finland. 242


Human Metamorphosis 113 x 113 cm oil & acrylic on canvas 2018 243


Ulla Karttunen www.ullakarttunen.com

https://ullakarttunen.wordpress.com www.kuvataiteilijamatrikkeli.fi/fi/taiteilijat/3625

Ulla Karttunen on kansainvälistä tunnustusta saanut monialainen kuvataiteilija, joka on keskittynyt digitaalisiin kuviin, installaatioihin ja yhteiskuntakriittisiin projekteihin. Hänen taidettaan on viime aikoina nähty mm. Lontoossa, Miamissa, Roomassa, New Yorkissa, Los Angelesissa, Algiersissa, Firenzessä ja Berliinissä. Karttunen on avantgardisti ja filosofi-taiteilija, joka on yhdistänyt visuaalisia ja käsitteellisiä kokeita, laajentanut taiteen aluetta viemällä sitä 90-luvulta alkaen arkiympäristöihin, julkaissut parisataa esseetä taiteen ja todellisuuden murtumakohdista ja käyttänyt taiteessaan vessapaperin, mediaroskan, ketsupin tai kynsilakan kaltaisia banaaleja, epäherooisia aineksia. Karttusen digitaaliset kuvat ovat arvoituksellisia ja poeettisia, mutta ne voi tulkita myös yhteiskuntakriittisenä taiteena, joka käsittelee etiikkaa, yhdenvertaisuutta, sukupuolta, sensuuria tai yhteiskunnan sokeita pisteitä. Karttuselle myönnettiin vuodesta 2015 alkaen monialaisen taiteen 5-vuotinen apuraha, 2016 hän voitti vessapaperista rakennetulla madonnallaan kansainvälisen, nykytodellisuuden tabuja käsittelleen taidekilpailun ja 2017 hänet nimitettiin finalistiksi kolmessa kansainvälisessä taidekilpailussa. ”Useat teoksistani kytkeytyvät eettiseen kysymyksenasetteluun ja oikeudenmukaisuuden asemaan maailmassa: kestävä kehitys on etiikkaa koskeva teonsana”

Ulla Karttunen is an internationally acclaimed multidisciplinary artist who has focused on digital images, installations and socially critical projects. Her art has been seen recently in eg. London, Miami, Rome, New York, Paris, Los Angeles, Algiers, Florence, and Berlin. Karttunen is an avantgardist and a philosopher-artist who has combined visual and conceptual experiments, pushed boundaries of art by showing it in everyday environments, published approximately 200 essays on philosophical questions in art and society, or used banal, antiheroic materials like toilet paper, media junk, ketchup, or nail polish in her art. Karttunen’s digital images are mysterious and poetic, but they can also be interpreted as contemporary versions of socially critical art, dealing with themes like ethics, equality, gender, censorship, or blind spots of society. For her pioneering work in multidisciplinary art, Karttunen was awarded a 5-year artist’s grant from the beginning of 2015. She was the winner, with her toilet paper madonna, in an international art contest on contemporary taboos in 2016. In 2017, she was nominated finalist in three international art prizes. ”Many of my works are dealing with ethical questions, or the state of equality in the world: sustainability can be understood as a verb, as an action, relying on ethics.” 244


Donna Florale 70 x 70 cm digital collage, pigment print on acrylic and alumi­nium, diasec 2017 245


Ulla Maria Kuronen www.elisanet.fi/ullakuronen www.kaapelitehdas.fi

Meri sisälläni Meri on kuin elämä itse. Osan itsestään se paljastaa, mutta lopulta pitää suuret salaisuutensa. Taiteilijana minulla on meri sisälläni. Jokainen aalto ja virta ovat viestejä suuresta tuntemattomasta tulla minun tulkitsemakseni. Me jaamme saman Maan ja saman Kaikkeuden.

The Sea Inside Me Nearness to the sea is nearness to Life itself, it´s revelations and it´s deep-hidden secrets. As an artist I host an ocean inside me. Every tide, current and wave is a message from the unknown, expecting to be interpreted by me. And we all share the same planet, the same universe! 246


Sweet Deception 80 x 80 cm acrylic on canvas 2016 Photo: Henrik SchĂźtt

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Tapio Lötjönen www.kuvataiteilijamatrikkeli.fi/en/artists/2308

Helsinkiläiselle Tapio Lötjöselle maalaustaide ja musiikki liittyvät kestävään kehitykseen sekä tekijänä että vastaanottajana. Lötjönen (s. 1940 ) on toiminut klarinetistina sekä sekä sinfonia- orkestereissa että kamarimusiikkiyhtyeissä ja hän löytää inspiraatiota ja ideoita omiin maalauksiinsa myös jazzmusiikista. Poikamainen leikkimielisyys ja ilkamointi näyttäisivät kuuluvan hänen kumpaiseenkin taidemuotoonsa. Improvisoidusta jazzistako tulevat kiemuraiset linjat ja iloiset pompahtelevat muodot hänen maalauksiinsa?

For Tapio Lötjönen, living in Helsinki, are both music and painting, the enjoyment and making of them, seems to be source of great pleasure and sustainability. Lötjönen, a former clarinettist in symphony orchestras and chamber ensembles, find ideas and inspirations for his paintings in jazz, among other things. For him playfulness, at times even a boyish mischief, seems to be in the forefront in both art forms. - Is this where the twirling and jagged lines and bouncing spots in his paintings come from? Are they the counterparts of melodic and rhytmical improvisation?

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Black Sun 50 x 38 cm oil on plate 2018

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Ursula Kianto www.kuvataiteilijamatrikkeli.fi/en/artists/1848 Taidemaalari Ursula Kianto asuu Helsingissä ja on suorittanut taideopintonsa vuosina 1985 – 1989 Vapaan Taidekoulun ammatillisella linjalla. Sen jälkeen on jatkunut tiivis näyttelytoiminta niin kotimaassa kuin ulkomailla maamme rajojen ulkopuolella.Ursula Kianto kertoo: Maalaaminen on minulle intohimo, alitajuinen matka jonnekin ja jossakin. Maalausteni lähtökohta on yhteys luontoon. Värien kerrostumiin sisältyy aika, muutos ja kaiken virtaaminen. Ursula Kianto lives and works in Helsinki where she graduated from The Free Art School as professional painter year 1989. The paintings of Ursula Kianto are inspired by images, reflections and associations. One layer leaves some separate fragment on the painting, the next layer brings another to its side, and little by little the painting manifests itself. In most cases, the completed painting, is an abstract state of mind, where – in the middle of desolation and silence- appears to be nature and buildings. Opposing to the paintings` tranquility are the joyful and happy colors, which actually seem to be holding back their playfulness. SOLO EXHIBITIONS 2016, 2014 Gallery AVA Helsinki 2017, 2016, 2015, 2014, 2013 Galerie Uhrwerk, Kolonie Wedding Berlin 2012 Gallery Pictor, Nummela (invitation exhibition) 2011 Gallery Uusi Kipinä, Lahti 2011, 2010, Galerie Uhrwerk, Kolonie Wedding Berlin 2010, 2006 Gallery BE`19 Helsinki 2009, 2008 Galerie Uhrwerk, 2007 Projectraum Forward, Berlin 2007, 2005 Stoa Mariapassio, Helsinki 2003, 2000 Gallery Johan S. Helsinki 1998, 1992 Gallery Johan S. Porvoo 1994 Gallery Bellarte, Turku 1993 Gallery BE ́19 Helsinki 1992 Gallery Figo Joensuu 1990 Gallery Kriittinen tila, Gallery Kaivopuiston galleria, Helsinki 1990 Gallery of Finnish Painters ́Union,tm-gallery, Helsinki SELECTED GROUP EXHIBITIONS The Annual Exhibitions of the Finnish Artist Association 1990, 1999. The Regional Exhibitions of Helsinki – Uusimaa 1992, 1995. The Exhibition of the Finnish Painters Association, Kerava 1993. “4 Painters”, Art Center Mältinranta Tampere, Savonlinna Art Museum 1995, Ars Libera Kuopio 1996. Several group exhibitions with Helsinki Artists Association 2001 – 2010 and Vallilan taiteilijatalo. Arthelsinki 2012,Helsinki, Gallery BE ́19 2013, Stoa Mariapassio 2015, Gallery Katariina, Helsinki 2016, 2017 GROUP EXHIBITIONS ABROAD Nordisk Akvarell, Stockholm, Ronneby and Rydals Art Museum 1998, Sundsvalls Art Museum 1998 – 1999, Sweden Second International Tokaj Art Exhibition, Tokaj and Budapest 2001, Hungary. The Bricklane gallery, London 2012. Art Expo 2013 New York 2013. Galerie Kitai, Tokio 2015. Gallery Saphira, New York city, 2016 , Corinthian New York,2016 - 2017 First gallery Grassina 2016, Italy, PINK-exhibition New York 2018 WORKS IN COLLECTIONS State of Finland Collection, Pohjola company, Alko company, Nordiska Investeringsbanken, Art Museum Turku STUDIES University of Helsinki 1961 – 1969, Vapaa Taidekoulu (Free Art School) Helsinki 1985 – 1989 MEMBERSHIPS Finnish Painters ́ Union from 1989, Helsinki Artists ́ Association, Nordiska Akvarellsällskapet CONFIDENTIAL POSTS Finnish Artists Representatives 1999 - 2002

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Photo: Kimmo Koskela

Rosso piccolo 50 x 38 cm oil on board 2018

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Umberto Nigi Umberto Nigi was born on May 13, 1945, on the island of Gorgona in the Tuscan region of Italy. It grows in the city of Livorno, home to the painter Amedeo Modigliani and composer Pietro Mascagni. In that city, he began his painting studies. In 1963, he was attracted to Van Gogh's Impressionist painting, which influenced his early works. In 1976, he participated in the Second International Biennial of Naif Art and drew the attention of critics to his work. He participates in exhibitions in Paris and New York, as well as traveling through various Italian cities, such as Turin, Milan and Florence. In 1986, he moved to Egypt, where he also exhibited his paintings. In this country, it receives a strong influence from Egyptian and Arab art. Afterwards it lives in the Arab Emirates, South Africa and the former Yugoslavia. From there he leaves for visits and studies in countries like Sudan, Libya, Turkey and Greece. He returns to Italy in the 1990s, where he resizes his work abandoning the figurative style. Part for works with recycled material, such as construction wood, sand, plaster, metal net and glue. She performs several expositions with this new technique. The dramaticity of her brushstrokes, the bold style, elegant sensuality and the use of colors in their different shades attract the attention of the specialized critic and the public. Diverse and intense colors that mix blacks, browns, yellow reds, oranges, blues and greens, cause chromatic explosions of impressive visual effect, revealing the excellence of his technique and the mastery of the mysteries of the art of expressing feelings through colors and In 1998, he visited Brazil and moved to Rio de Janeiro and, later, to Belo Horizonte. The landscapes and the customs of the native land and the pilgrimages by several countries, including by Brazil, were fundamental to lapidate his style.

“[...] As pinturas de Umberto Nigi fundem as cores do universo, alimentando-se de amarelos, vermelhos e de azuis que absorvem a energia solar; as cores misturam-se umas às outras – obedecendo às principais regras da criação – e direcionamse ao êxtase final, filtrando a obscuridade e demonstrando uma mensagem de pureza, de harmonia, de elegância. Seu método é fascinante. A ausência de representação figurativa absorve o drama humano para resumir medos, ansiedades e horrores, reduzindo os dramas terrenos a uma sofisticada multidão de sublimes arranhões, instintivos, espontâneos e viscerais. As pinceladas decisivas, mas compostas, não sobrepõem simplesmente cores, mas criam outra dimensão, um novo complexo arquitetônico, uma linguagem moderníssima que não observa o homem, mas explora-o, em todos os seus segredos e mistérios. Nigi medita sobre a eternidade e dialoga sobre o claro e o escuro da alma, junto com o excelente Goethe, para o qual ‘onde há muita luz, há também muita sombra’. Refinado.” Andrea Baldocchi Museólogo italiano. Em 2007, foi selecionado pelo Metropolitan Museum of Art, de Nova York, e docente de História da Arte, na Universidade de Harvard e na Universidade de Princeton.

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Veikko Myller Kuvanveistäjä Veikko Myller (s. 1951) piti ensimmäisen yksityisnäyttelynsä 1971. Myller on luonut oman, helposti tunnistettavan persoonallisen tyylinsä. Hänen työnsä ovat värikkäitä ja selkeästi esittäviä, usein tarinallisuuteen saakka. Myllerin eläinhahmot, mystiset ratsumiehet, soturit, kuninkaat ja siivekkäät ihmishahmot muodostavat mytologisen maailman. Myller määrää luonteenomaista ilmaisuaan taidehistorian ja muiden kulttuuristen viitteiden kautta, kooten yhtenäisen kokonaisuuden. Hänen töitään on Suomen johtavissa taidemuseoissa, kunnissa, kaupungeissa ja yrityksissä sekä lukuisissa yksityisissä kodeissa.

Sculptor Veikko Myller (born 1951) held his first solo exhibition in 1971. Myller has created his own personal style, which is easy to recognize. His works are colourful and clearly figurative, often to the point of being narrative. Myller`s animal figures, mysterious horsemen, warriors, kings and winged human figures form a whole mythological world. Myller has command of his idiom of expression and blends his art-historical and other cultural references into a coherent whole. His works are included in the collections of leading Finnish art museums, municipalities, cities and businesses, and in numerous private homes.

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Niilinlintu 35 x 35 cm maalattu pronssi 2017

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Vesa Arjatsalo Maalaukset kuvaavat pientä saarta, paikkaa, jossa voi olla kuten haluaa. Rauhallista ja ehkä onnellistakin paikkaa. Temperalla maalattuihin tasaisiin väripintoihin olen maalannut merkkejä ja kuvioita, jotka viittaavat kasveihin ja muuhun maanpinnasta löytyvään.

The paintings depict a small island, a place where you can be as you like. A quiet, and maybe even the happiest place. In flat color surfaces, using tempera tecnique, I have painted signs and patterns that reminds you of plants and other things that can be found on the ground.

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Melko pieni saari / Quite a Small Island 30 x 35 cm tempera ja lyรถntimetalli / tempera and metal leaf 2017

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Virpi Kanto Kuvanveistäjä, Sculptor www.virpikanto.fi

Syntynyt 1959, elää ja työskentelee Orimattilassa. Näyttelyitä vuodesta 1988.

Työstän veistokseni ensin savimuovailuna, otan siitä kipsimuotin ja valan siihen betonin. Teoksen tekijä käyttää veistokseensa omaa energiaa, läsnäoloa, omaa aikaansa, koko henkistä kapasiteettia. Teoksen sisältö ei ole siinä pinnallisessa kuvassa, joka taideteoksesta ensimmäisenä paljastuu. Sisältö on siinä energiassa, mitä se pitää sisällään. Taiteilija tutkii erilaisia energioita, jotka ovat henkisen laadun tuotteita, sisältöjä. Taiteilija hengittää sitä energiaa mitä hän luo. Tulevaisuus syntyy siitä mitä me tänään unelmoimme. Nopeasti paljastuu taiteilijan moraali. On taiteilijan valinta mitä eleitä maailmankaikkeudessa tekee. Miten hän elämään suhtautuu. Tämä päivä ja tulevaisuus riippuu siitä, kumarrammeko ihmistä vai tavaraa, minkä arvon ihmiselle annamme. Olemme osa tätä kokonaisuutta, halusimme tai emme. Yrittää olla tosi on tärkeä osa kestävää kehitystä.

Born 1959, live and works in Orimattila, Exhibited since 1988. I start the sculpting by first modeling the clay. After that I pour plaster over the clay to obtain a mold and then lays concrete in the mold. An artwork is made of the energy, the presence, the time and the whole spiritual capacity of its maker. The contents of the work lies not on its surface, not in the picture it first reveals. The contents is in the energy that the work incorporates. An artist studies different energies that are products and substances of a spiritual nature. He breathes the energy he himself creates. Future is what we dream today. His moral reveals itself soon. An artist chooses which gestures to perform in the universe. He chooses his attitude towards life. This day and our future depend on whether we bow in front of goods or in front of man. It depends on the value we give to the human being. This thought concerns us all whether we want it or not. Trying to be true is an important part of sustainable development.

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Maiseman sydän / Heart of the Landscape 79 x 25 x 20 cm concrete 2017 Photo: Ilkka Halso

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Virpi Lehto synt. 1957, Jyväskylä Asun keskellä metsää Joutsassa, Keski-Suomessa. Olen ammattitaiteilija, taidemaalari. Teen öljy- -ja akvarellimaalauksia sekä käytän myös sekatekniikoita teoksissani. Teen myös performanssia ja ympäristötaidetta. Rakastan värejä ja symbolismia. Tärkeintä taiteessa on se aineeton, välitön ja näkymätön mielihyvän tunne, jonka taiteen kokeminen saa aikaan.

Virpi Lehto b. 1957 Jyväskylä, Finland

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I am living in Joutsa in the middle of the forest in the central of Finland. I am a professional painting artist, using mainly oil and watercolour techniques and also mix media on my works. I do also performance and environmental art. I love colours and symbolism. The most important in Art is the immaterial, immediate and invisible sensations of pleasure that art causes in your mind.


Muistin olemus / The Essence of Memory 100 x 140 cm รถljy kankaalle / oil on canvas 2017

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Painotalo: Kirjapaino Välikangas https://valikangas.fi Taitto: Sami Luoto 263


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BELA Biennial 2018  

Biennial of European and Latin American contemporary Art in Helsinki, Kaapelitehdas

BELA Biennial 2018  

Biennial of European and Latin American contemporary Art in Helsinki, Kaapelitehdas

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