┐ Terike Haapoja – mind over matter over mind └

© Terike Haapoja, Anatomy of Landscape, Durational images, 2 parts, 2008 Glass, plywood, live plants, light, electronic, water, 150 cm x 90 cm x 20 cm When one stands before a landscape, two lines of thought appear. One treats the landscape as a framed fragment of our field of vision, distanced plane of forms and tones, structured by our viewpoint. The other, in contrast, follows the grass from underneath our feet to the distance, hears the resonance of the wind in our ears, smells the soil, synchronizes the pulses of the body with the life inside the view. Abstractions, mathematization … Continue reading ┐ Terike Haapoja – mind over matter over mind └

┐ Minna Pöllänen └

© Minna Pöllänen, Hiltop, from the project Attempts, 2010 © Minna Pöllänen, Water, from the project Attempts, 2011 © Minna Pöllänen, Ice, from the project Attempts, 2010 “Made on an undeveloped 0.75-hectare piece of family land, Attempts maps out a survey into the notion of landownership. Through collecting, containing and marking different pieces of the landscape the project explores the various geographical and topographical elements found within the lot. The apparently futile constructions depicted in the photographs aim to visualise and question the often illogical commodification of nature and the ownership of something that exists in a constant state of … Continue reading ┐ Minna Pöllänen └

┐ Helga Härenstam └

© Helga Härenstam, The Gap, from the series The Society, 2006-2008 © Helga Härenstam, Jesus, from the series The Society, 2006-2008 The Society is a fictious documentary, trough which Helga Härenstam has been looking for and/or constructing environments, scenes and events, that are based on memories from the small society where she grew up. The people photographed in these series are Härenstam herself, her family and other people that she is close to. The series is a puzzle of pictures dealing with the borders between documentary and staged, the real and the unreal and the past and the present. The … Continue reading ┐ Helga Härenstam └

┐ Iiu Susiraja └

@ Iiu Susiraja, Näytös, from the series Älä nyt suutu, 2008/09 @ Iiu Susiraja, Kannel, from the series Syömään, pöytä on katettu, 2010 “In Susiraja’s esthetics, an image does not remain an image; rather, it requires an entire life. Although Susiraja has focused on photography, her art genre is more comprehensive: to shape a work of art from life. Usually, the salesmen of this genre rely on the American smile, non-sense polished with first-class product phraseology, but Susiraja doesn’t work that way. She scavenges ultimate experiences and the most dismal version of reality, although sometimes the imaginative possibilities for light-hearted … Continue reading ┐ Iiu Susiraja └

┐ Katharina Bosse └

© Katharina Bosse, Untitled, from the series A Portrait of the Artist as a Young Mother, 2004-2009 © Katharina Bosse, Untitled, from the series A Portrait of the Artist as a Young Mother, 2004-2009 “After living in New York for six years, I moved to Germany and became pregnant. Nothing in my career as a photographer and artist had prepared me for this experience. Not only were the physical demands of carrying and caring for the babies demanding. It was a forced change from everything I had learned so far: individuality, ambition and workaholism. I felt like a teenager again, … Continue reading ┐ Katharina Bosse └

║ Wilma Hurskainen ║

© Wilma Hurskainen, Untitled, from the series No Name, 2007 – © Wilma Hurskainen, Untitled, from the series No Name, 2007 – © Wilma Hurskainen, Untitled, from the series No Name, 2007 – “In my new series No Name I go further with the themes of childhood and memory. This time childhood and adulthood, like layers, are present in the same photograph. I re-create my memories, some of which are false or invented, and continue the visual representation of these memories by loosely attaching texts to the pictures. By doing this I try to find out and question the means … Continue reading ║ Wilma Hurskainen ║

║ Eva Persson ║

© Eva Persson, Untitled, from the series Jokela, 2007 © Eva Persson, Untitled, from the series Jokela, 2007 “On November 7, 2007 occured what has come to be called the Jokela School shooting. At lunch time Pekka-Eric Auvinen had went to the school in Jokela and shot eight people and then himself.I was watching the news on tv in the early evening when I got a call from an agency. They wanted me to do a personal series on the tradgedy during the next couple of days. I drove to Jokela and started to photograph. The next day I went … Continue reading ║ Eva Persson ║

║ Deirdre Donoghue ║

© Deirdre Donoghue, Untitled #2, from the series Infantocracy, 2003 © Deirdre Donoghue, Untitled #3, from the series Infantocracy, 2003 “Infantocracy is a series of large photographic prints addressing ideas on childhood and power through the investigation of space and displacement. The series focuses on spatial relationships between the surrounding social environment, its cultural landscapes and the ‘child’, who like an explorer is in the process of learning how to negotiate and occupy the given space/s.”Deirdre Donoghue More of Deirdre’s work can be seen here Continue reading ║ Deirdre Donoghue ║

║ Sanna Kannisto ║

© Sanna Kannisto, 2006 © Sanna Kannisto, 2001 © Sanna Kannisto, 1998 “My work explores the relationship between nature and culture. In my artistic work I aim to study the methods, theories and concepts through which we approach nature in art and in science. As an artist I am attracted by the idea that when I am working in a rain forest I am a ‘visual researcher’. In my series Private Collection and Field Studies I was interested in borrowing methods of representation, as well as working methods, from the natural sciences, from anthropological and archaeological practices and from still-life … Continue reading ║ Sanna Kannisto ║

║ Elina Brotherus ║

© Elina Brotherus, Le Printemps, from the series The New Painting, 2001 © Elina Brotherus, Scène Domestique, from the series The New Painting, 2001 “Elina Brotherus begins from her own experience: herself, those close to her, and the landscapes she knows. For her, photography’s ‘decisive moment’ is not a split second alignment of people and light, but a passage of time lasting anything from a few minutes to a few weeks. Her self-portraits tend to be made in moments of vulnerability, such as in the aftermath or low-ebb of a love affair. Although carefully staged in domestic settings flooded with … Continue reading ║ Elina Brotherus ║