Sunday, August 17, 2014

Kuvituksia ja miniatyyreja

Viime aikoina olen keskittynyt lähinnä lastenkirjan kuvituksiin ja miniatyyrien tekemiseen, myös kuvituksiin miniatyyreillä. Näistä enemmän kahdessa muussa blogissani, kts. linkit oikealla.

Lately I have been focusing on Children's book illustration and miniature making, also making illustrations WITH miniatures. You can find out more about those projects in my other blogs, see links on the right.

Saturday, November 2, 2013

Muu Maa - Haihatuksen kesänäyttely

"Paratiisi" 2013
Teokseen on käytetty noin 20 000 palapelinpalaa.

"Talo niin kuin minä" Näyttely Saarijärven museossa

Residensseissä tehtyä

Espanjan ja Italian residensseissä tehtyjä vesivärimaalauksia ja piirustuksia.

Here is some of the watercolor paintings and drawings I finished at Artist's Residencies in Spain and Italy.

Monday, July 16, 2012

Trash Plants

Dhaka, Bangladesh
(Photography by Brittany Mahood)

Beloved be an insignificant detail, a mundane struggle. Everyday is monumental. Monuments of the everyday are small events: a coffee break, a traffic hour.

We can relate to small events, they are real for us. Everyday is a true reality. We can relate to brokenness and maybe even more to the attempt to hide it. We can feel empathy and great tenderness for being human in everyday life.


One of my favorite things to do in Bangladesh was to have tea. You go to a tea stand by the street, drink tea with a lot of sugar and condensed milk out of a glass. It is just a short moment, just few minutes, then you return your glass and it is washed in a bucket.

Everydayness is something that is closest to us, the most familiar and ordinary but its essence cannot be grasped. Everyday can be viewed as a complex of details that are insignificant or they are so close to us that we take them for granted. Everyday can be seen as a monotone and repetitive continuation of time.

When I walked in the streets of Dhaka I often couldn’t see a big picture. What I saw was continuity and repetition of details, objects, small events and moments. Among all the trash on the streets I started to notice colorful nets that are used as bags for fruits and food. I started to collect them to make an artwork and it was exciting to find different colors, they became like a small treasure for me. Out of these nets I made “trash plants” and placed them on the streets on dirty spots. I was often so impressed by the kind and joyful hearts of the Bangladeshi people and somehow it made sense for me to place colorful plants on the dirty streets, since in my eyes the people were like color points in a dusty city as well.

Sunday, January 30, 2011

A Marginal World

Site-specific installation
Materials: bed sheets, bath towels, night gowns, morning robes, wool mittens and scarves, blankets, sand paper, wood. (Drawings: colour pencil on paper.)


Sunday, October 10, 2010

Art route in De Wijk - Ijhorst, the Netherlands

Home Flight

I travel a lot between Finland and Holland. I don’t feel I belong in my home country but I’m not at home in foreign countries either. There is always a question in my mind “where do I belong?” Only time I am free of this questioning is when I travel. I don’t need to feel I belong to a train or an airplane. I am in a between –state. So paradoxically I feel most comfortable and at home while I am travelling.

I know an object, whether it is a house or a mug, does not last forever. Yet I believe it does. My mind cannot comprehend that an object could contain a possibility not to exist. I perceive the world as ever being without a possibility of it not being.

“A house constitutes a body of images that give mankind proofs or illusions of stability.”

(Gaston Bachelard, Poetics of Space, 1992)

When I live in a house I believe it to be stable. When I come to realize its instability I feel betrayed. When my grandfather died, my grandparents’ house was sold and torn down. I went to see what had been done to the property and was shocked. The house, garden and trees were gone, there was nothing left but ground. A year later a new house had been built there, trees cut down and grass had been covered by pavement. Without knowing the location I couldn’t have recognized it. I kept wondering about the intensity of the shock it caused. It made me realize I can think I know things are not everlasting but still I don’t really know it, not even when I see it.

“It is not necessarily at home that we best encounter our true selves. The furniture insists that we cannot change because it does not; the domestic setting keeps us tethered to the person we are in ordinary life, who may not be who we essentially are.”

(Alain de Botton)

When I travel I don’t get the feeling of being betrayed. I am on my way to somewhere; I inhabit a change and even become one with it. Just like “furniture insists that we cannot change” so does a travel insist that I am constantly changing. I feel freedom while travelling; I am free of trying to belong and to behave in a certain way.

Installation at Kunstvlaai art fair, Amsterdam, 2010, size 3mx3mx2,5m

Power of copy, Xuzhou Museum of art, Xuzhou, China

Applied arts dept Sandberg Instituut paricipated the show Power of Copy in Xuzhou Museum of art, Xuzhou, China

DOEN Materiaalprijs nomination 2009

Dutch design week, Eindhoven 2009
(no title) 2009 materials: plasti bowls, crocheted yarn

grandparents' house


My grandparents’ house.

It stayed the same,

I would always know where to find things, mints, a phonebook, a comb...

The house was torn down, it exists no more

The house started to come to my dreams.

House can be half empty, furniture changes.

I find new rooms, up close to the ceiling or under the floor.

They are small and narrow spaces,

between-places, dream- and memory places.