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Agora / Portsa / 9x12 / Marathon / Gloria Vanderbilt / Strange, stranger / TIE 2000 / 1918 / what's new? |
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The personality of the artist combines the roles of visual artist, photographer, critic, gallerist and teacher. Ismo Kajander has always been an intellectually refreshing questioner. He is not content with providing ready answers but challenges viewers to ask their own questions. Producing pictures is an intellectual game. This is clear from the Dada statues and object compositions as well as from the construction of models, the artist's own personal image, and photographs. Behind everything there is always thought - form alone is meaningless. |
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Multilayered and multidirectional dimensions, quotations and footnotes, care and fastidiousness about small details are some of the most prominent features of the artist. Dada rejected all that was old, it wipes the slate clean. It denied art - only to become part of it. After Dada, it is difficult to find anything for aesthetic experience to conquer. Or could photography be - or have been - the "terra incognita" of art? For a visual artist putting emphasis on the purposeful, changing over to photography signifies consistency of purpose. The camera is the bicycle of visual art. The world rushes past the photographer, subjects and ideas fall to the wayside both left and right. The wandering, for days on end, with brushes and colours, has given way to a fraction of a second. In a time shorter than it takes for a thought to be formed in consciousness, the subconscious rushes off through time and space. Thoughts crystallise in black silver. Apart from the instant, fast visual results of photography, one added attraction is the possibility of using a realistic, documentary language on a fresh level. The possibility of reporting on the world at the same time both in grotesque and sympathetic terms. |
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What is more beautiful than reality? The drama hidden under unpretentious appearances? A small gesture, a touch of fingers, a look that tells you a whole life story? Reality opens up in front of the photographer. He will have to have the courage to accept the challenge. Does not an artist always search for the truth, even when he is telling a lie? The cross drawn over a mummified, dead mouse reminds one of an old standard of rebellion. And it is to a rejection of everything conventional to which this picture incites you: it is a violent protest against giving in, a protest against death.
Tuomo-Juhani Vuorenmaa 1984 Bird, Paris 1981, Leaf, Helsinki 1983, Hommage à Atget, Paris 1981, Propriétaires de mon hôtel, Paris 1981, Lamp, Paris 1981, Peach, Paris 1981, 'Hallelujah', Kauklahti 1983, Wall, Paris 1981, Mummy, Helsinki 1983, Hommage à Leonardo et Duchamp, Helsinki 1984 - 85, Jevgeni Jevtushenko, Helsinki 1984
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Agora / Portsa / 9x12 / Marathon / Gloria Vanderbilt / Strange, stranger / TIE 2000 / 1918 / what's new? |