Welcome to the exhibition opening in the presence of the artist Thursday 4th October from 6 to 8 pm.
Let is being open, that which enables listening to otherness, a broken sentence that the traces of others will finally fill. The exhibition expands on the themes of its earlier sister exhibition; presence, relationhood, and the dimensions of touch. Altogether the project considers how traces and marks manifest themselves and the attitude related to leaving them: other materialities can be approached compassionately, without an attempt to control, by listening, by adopting a holistic gaze. The pictures that came about in the garden during different seasons are traces of reaching for interaction and being consciously open – the result of a collaboration between human and non-human factors alike. The polyphonic collection uses photography, installation, sculptural objects, drawing and video to ponder the possibilities of connection despite the gaps left between, by improvising and gently exploring.
The exhibition both concretely and metaphorically builds itself around the garden and the processes of compost (Latin componere, to compose or bring together). The artworks are created from leftover materials, such as photographic paper from the 70s or the composting and image editing functions of the micro-organisms that worked diligently on one family’s food waste for a year. By allying herself with microbes, the artist makes visible the energy hidden in matter, which is easy to forget, even though nothing eventually vanishes but merely changes its form to cause effects in different configurations. The compost is a point of material resonance, swarming sociality, and molding. It is a picture of mosaic fibrillation and inseverability. The system requires enough oxygen, moisture, warmth, layering, compounds to function. Billions of farmers, enablers of life, live there. Thinking about the power and creativity of these tiny creators makes us curious, fills us with respect, causes us to shudder, because they remind us of the unknown organisms living in the inner landscape of our own bodies, organisms whose intelligence, together with random chance, guides our reality. Our dependence on invisible othernesses that affect everything inside and outside of us so exceeds our comprehension that it is not easy to admit, but we can still stand in awe and observe, and imagine, even presented with something so strange and withdrawn.
In working outdoors, the artist and her work become affected by nature’s time, rhythm, events, participants, durations as a flux like breathing. The outlines of other creatures and materials sometimes mix into a shared chemistry, in a shared growing space. Using this slow, camera-less method the artist lays her head to rest on a sensitive photographic paper, for a long exposure. Warmth from the skin, sweat, tears and vapor from breathing erupt in color, breezes and weather conditions leave their marks while the sun draws its picture. The small insects, the rain, the sun, and the internal human waterways are the sculptors of the paper surface, a shared image is created, a mark of the process of becoming. In this method the photograph returns to its basic elements, light, time, and a reactive material, then again in the next phase of the scanner’s light further chafes the surface. The original images stay alive, vulnerable to touch, that which bends the photograph’s time.
Microbes build their image, inhabit the photographic paper in the warmth of many summer days. That same heat – felt on the surfaces of humans and other animals and plants. The power of the rain reminds us of what humanity does not yet control. In the exhibition the pitter-patter takes space as an image formation, the birch tree draws its own image through a rubbing technique, a frottage, while the observer wonders about the meaning of her language using playful exercises. The plant matter takes the form of plaster molds and compost soil that are inhabited by oak individuals, co-existing reminders of the origins of our ordinary objects. If nothing ever remains the same or vanishes either, there is still a continuum, a time of unexpected acceptance, vibration, and renunciation.
Snow melts to a painting
Warm skin colors the paper
in its being toward another
in a drought
I sweat worry
I am artificial rain
The body is
a photograph without a camera
Noora Sandgren (b. 1977) is a multidisciplinary artist based in Helsinki. In her works she is interested in the themes of interaction, materiality and ecological questions. Her main mediums are photography and installation. The exhibition exhibited in Peri belongs to the ongoing project Fluid Being (2015-) and widens the collection previously seen in Gallery Hippolyte at the beginning of this year. Sandgren´s works have been exhibited in various Finnish and international group shows, such as at the Abstract! 100 Years of Abstract Photography 1917-2017 -exhibition in the Finnish Museum of Photography (2018), and Fluid Matter – The Contemporary Finnish Photography -exhibition held in Latvia (2017). Sandgren´s works have also been shown in international festivals and art fairs such as CHART, Viennacontemporary and Paris Photo (2016). Besides her own artistic works Sandgren is actively taking part in an artistic collective and working as an art pedagogue in various projects.
During the exhibition informal random meetings and discussions are warmly welcome when the artist returns to water the trees in the gallery at 16.30.-17.30 pm. Fri.12.10 and Sundays 21.10 & 28.10.2018.
Snow paints 11.3.2018 (18 min), from the series Fluid Being