Anna Daniell has previously exhibited sculptures in the woods, on a plank shelf, at a sports stadium, in film, with dance and through text. These sculptural projects have been as much about trying to show sculptures in different contexts as trying to look at the sculptures in a new way. In her recent artistic practice Daniell is questioning what strategies she can use in to enhance the emotional connection between the audience and her sculptures. Could for example sculptures constitute support and meaning in someone’s life….She is continuously trying to challenge a pure intellectual ( and possibly institutionalized) reading of sculptures and somehow attempting to bring them back, closer to us, to our emotions and to our lives.
For the Big Bang exhibition at Thomas Wallner gallery Daniell wilcontinue to examine the function of sculptures in contemporary societies, and the way they are perceived by the audience and how people relate to them.
The last years Anna Daniell has been participating in exhibitions in Norway, Sweden, Finland, Poland, South Korea and has received various grants. She is currently nominated as a finalist to the Sandefjord Kunstforening Art award and have has 3 upcoming exhibitions in Oslo and New York.
My work revolves around creative processes of negotiation and how these processes impact their surroundings. I collect objects and phenomena that I re-position, and gestures that become formulas to structure my own work process. I often accentuate the abstract or lyrical properties of imprints generated by our every-day activities, in order to create relations between the abstract and figurative; between art and every-day life, high culture and the spontaneous creative gesture. I often work with existing environments where I interact with physical or social context, and re-structure what I see around me to make selected parts tell a different story than they normally do. Painting and sculpture become tools, both to interact with, and redefine the context. In my work process, I create connections to art-historical strategies, as well as contemporary phenomena, through a playful experimenting with roles and references.
In the show are metal-sheets that I shaped through a process, where simple expressive gestures are repeated and stretched out. The images become spaces of negotiation, where several highly intensive work-methods compete to position themselves. The repetitive processes, that gradually empty the gestures of original meaning, are progressively woven together and start producing new rhythms and associations, beyond their own starting-point.
Jamila Drott 2016
Koitila extracts symbols from narratives, turning them into material counterpoints,
compulsive structures and processed surfaces. This chain of reversed alchemy results in metaphysical golems (a clay figure brought to life by magic; Hebrew, g.lem
‘shapeless mass.’), that become alive with the surreal weight of spectator’s own
intimacy – the dream-like memories deep inside the lizard brain, triggered by the color of that rope, the texture of that fabric, the fragility of those seashells, or
the consistency of that candle wax.
Koitila’s sculptures carry a peculiar, evidential aura, but not of a crime scene.
Rather that of an archeological excavation site. Of what?
Ida Koitila (b. 1983 in Borås, Sweden) lives and works in Berlin (GER). She graduated from the Finnish Academy of Fine Arts in Helsinki 2011, and have since then actively participated in group exhibitions in Finland, Sweden and Germany. Earlier this year, she presented her solo exhibition Crash of Air in the Finnland Institut in Berlin.
Jarkko Räsänen 2013
My work moves between reality and a parallel universe where other conditions exists.
Things and creatures inhabits the paintings and sculptures. An imagery in constant transformation.
It’s like the moment you wake up and still can grasp the possibilities a dream holds.
I use a variety of materials in my sculptures and work sometimes really precise and other times quite rough. The contrast that emerge between the detailed and the raw underline the figures dualistic character and generate tensions between the living and the dead.