Photo: Petri Summanen

A Woman ate a Receipt in A Hamburger (2015)

The name of this piece is connected to the concept of immaculate conception and further, misconception. In Finnish mythology the concept of Immaculate conception appears in the form of both Saint Anne and the Virgin Mary, imposed on one woman named Marjatta, who, eating a cowberry, becomes pregnant and gives birth to a son that signifies the dawn of new time. In the name of the work this topic has been banalized by changing the cowberry into a hamburger, carrying a secret ingredient, a receipt that impregnates the unsuspecting victim, maybe unnoticing it or confusing it as lettuce. The original idea was that the child would be a car, appearing in the installation as a toy car track circling the fishtank.

The installation was built around a table and two projections opposite each other.

In the first of the videos a wedding dress is slowly soaked in red starting from the crotch. This video was projected into an aquarium with titanium oxide slowly dripping in the water. The other projection in the installation was a pan through miniature scenery made from styrofoam and inverted plaster casts of styrofoam used for packing of electronics. Both videos inform of an absence or undoing of human presence -the wish or sense of not being there in the first place. The architecture in the latter video consists of objects originally smaller than man -grown into size surpassing man. The casts used to create the building-like objects in the shoot establish consumerism in relation to the topics in the name of the theme - eating a receipt, a byproduct of transaction of commodity, the hamburger and what it gives birth to, creating a linguistic reciprocality that mirrors the psychoanalytical apparatus of commodified circulation of emotional needs.

Virginity in the form of a wedding dress relates here to the object's commodity value -that the wedding dress loses its value once it has been used in a wedding and cannot be sold after that with the same price. This is related to the transience of value into objects and commodities, marking a pristine, pre-existing state that serves no man. As a reflection in the installation, the image of the wedding

dress is scattered in the exhibition space, refracted from the prism of the aquarium, generating an encompassing maternal presence around the table on which lies a miniature scale model of what is being displayed in another reality in the other video.

The work represents ideals related to the self and it's dependency on renewal based on an economy of circulation of commodities.

As the center of the work, the projection of the wedding dress on the slowly changing droplet of titanium oxide serves as the representation of the persona as an ever changing, amorphous nothingness affected by outer reflections.

Here's a poem i wrote related to the thematics


A car that you parked, left waiting as the seasons go by
A tide receding, exposing the gums of northern sea and the rotting ocean floor
A wave gushing against cliff, the rocks on the shore of a subdermal ocean
Surfaceless, no harbor

Mary and Anne imposed, as one
Cowberries on their cheeks
Resting on a rock on a late summer's morn
The mother and the child giving birth to something that had hands and a face
In the water beneath between the thighs

After the fever and convulsions are gone
A son of new time to come
Resting, Poised
A living dead being inside its deadly sea
Pledged to desist from life in order to remain

Under this tide of rocks and cliffs and all that's lived under the sun
Transformed into something that lays underneath the rocks and the cliffs and the sea

A black blood of the earth
An unseen speed, an acceleration
A being spurning beings out of time
A horse whose power exceeds its master's
A time that ceases to pass
Split into times that last forever

Misconception that bears a living thing
An abortion that ties all the fragments of matter into one being

Pics or it didn't happen (2015)

A co-operative exhibition with Kaarlo Stauffer at Huuto gallery Jätkäsaari.

The theme of the exhibition was a partly overlapping circle of friends, which was

documented by Stauffer's drawings and videos I had filmed with my cell phone camera

in mundane situations. The screens for the videos were roughly similar in size to the

drawings, giving a sort-of balance between the two mediums.

For me, this was partly about the actual act of being an artist in ways of representation and

identity that becomes renewed in the process of publicly displaying an artwork. A sort of way to

exist and represent oneself as a part of a group of people that share the same interests.

This is related to Michel Foucault's lecture on the author and Roland Barthes' essay

"Death of the author".

Some links:



On another level my viewpoint was that which Tarkovsky describes in his book "Sculpting in Time",

in which he addresses the medium of cinema being time itself, whether documented or fiction.

The situations I was filming were mostly uninteresting and banal, consisting of settings that would

portray a number of people seeming lost or just waiting for something or exchanging brief

commentary on a trivial matter. This relates to what Tarkovsky cites from Proust, that the task

of cinema as a time-based medium is to bring alive the enormous construction of memory.

By relevance this is related to the industry of compression algorithms and cloud storage services, that massive amount of individual documented moments that become archived, processed and part of a franchise that is

the outsourced memory, a form of cybernetics in the present.