The sculptures are collages of shapes made from trash and other industrial materials found in the nature and on the streets. The shapes were casted into concrete and Jesmonite. Installation consist also cut and reshaped table and chair legs painted with chameleon car paint, rubber band holders and pedestals which where made by using wooden note board from a metal workshop and plywood remains.
This text was written during the exhibition process. It takes the word “render” from the exhibition title and puts it into pieces (Reproduce, Convert, Melt down & Extend) in order to see what it is made of. The basis for this text is in conversations I’ve had with Tiina Raitanen during winter-spring 2016.
“I am making stones out of concrete.”
In her works Tiina Raitanen uses leftovers and abandoned materials she finds from her surroundings, together with paint and casted materials such as plaster, clay or concrete. The cycle of materials in her works is stunning: ones that are reworked into stoneware find their new shapes as casted sculptures representing stones. The relation between authenticity and reproduction is put to test, and when all is in constant process of evolving, the aura of the original becomes insignificant.
In her work Raitanen takes everyday objects, deconstructs them into pieces and then combines them again. Every piece of material is carefully chosen, carefully examined by the eye and the hand, and then carefully worked into something else. A figurative element can find it’s place as a black line, whereas more abstract shapes can be converted into something more allusive.
“Sometimes I am not anymore sure what it was originally.”
She calls her sculpted works future fossils, since to her they are imaginary artefacts that hold both the past and the future in their muster. She is interested in the life spawn of objects and as we talk, she wonders what happens, when all this matter is in touch with time, melt into one another, vanish and turn into sediments of soil? Or rather, can they even decompose, or only scatter around as scraps and shreds?
Render has one meaning as melting down; merging, dissolving and collapsing. When talking about her artistic process Raitanen emphasises the significance of touching in relation to thinking. In her way of working there is no separation between manual labour and contemplation, they both go hand in hand, and both feed one another. Each material selection as well as each mark made by the tools she uses, generate new associations leading the way to new possible meanings.
The artistic process evolves into different implications that come to be, when material and thoughts addressed are in constant affiliation with each other. What ends up in Raitanen’s exhibitions follows the same manifold pattern, as the process of a single piece: installations are formulated in relation to the time and space of the current location, and the situations are created by placing certain elements together. What the installation does, is in the affinity with the subject and the matter – in the subject matter.
Raitanen’s works can be seen linking and overlapping with the current discourses around anthropocene, posthumanism and new materialism. But if one looks more closely, it becomes clear that rather than being mere illustration of these theoretical approaches, Raitanen’s works actually already contain all the knowledge these theories pursue: the subjects and the matter she deals with embody and condense the philosophy and principles of thought in themselves. The artworks are in fact, systems of ideas embedded into practice.
The works are born from and within these situations we live in, and through these conditions they enclose the existent which will some day vanish, turn into something else. They go beyond the material, through the immaterial, extending into this situation where we are, faced with all the layers of information and times these elements hold.
‘Recall’ means remembering, recollecting, bringing back to mind and to call back for repairs. The exhibition deals with materials and objects that have been close to us, some even part of our daily lives, but are now gradually becoming history.
Recall consists of ceramic parts reminiscent of CD and DVD discs and broken up disc holders – the kind of junk that fills up flea markets and landfills. They are signs of a culture about to disappear.
Ceramics, cut and reshaped disc holders, fishing line, plexiglass, steel.
Stonerocks consists of collages of shapes made from trash thrown in the woods and along running paths and industrial materials found in the nature (goggles, pieces of tile and brick, plastic tip from a firework, coffee mug cover, plastic water bottle, cardboard packaging). I converted the shapes into abstract ceramic sculptures and made concrete pedestals for them. Layer of a reflective paint covers the top of the pedestals. The last photo is taken with flash.
The hoops are from wooden barrels that have been used as pots for exotic plants at the Wiepersdorf Castle. When the barrels have started to rot, they have been discarded into the woods. I collected the rusty hoops and gave them a rough polish. I installed the hoops with rubber bands and supporters making use of structures of the gallery space.
HEITTO / THROW
Reshaped metal bars from a found rack, plastic and tin sculptures.
LOUHIKKO / A FIELD OF JAGGED ROCKS
Concrete, colored concrete and materials, trash and old sculpture studies from the studio casted inside the pyramid.
ERROR TILASSA / SPACE ERROR
Concrete container, photo prints from different museums and art galleries.
PARIISIN KANSIO / PARIS FILE
Installation from the group show JÄLJILLÄ
with Salla Vapaavuori and Emma Rönnholm
a crumbled plaster sculpture, glass, glue, shelf brackets
Trace refers to Emma Rönnholm’s
work Filled Emptiness 2013-2014
on the previous wall. On the shelf
a sculpture has broken down completely,
leaving behind only an empty area that
the light can pass through.
Cut up steel rim from the old work 8, 2010
resin, glass, fasteners, stainless steel cables
The gallery lighting system is very dominant
with all the wires, if you happen to look up.
A number of steel cables are crossed by air.
I wanted to emphasize the cables and the absurdity
of the system by combining the structure to my work.
2 min 50 S
Viewing from the distance there is nothing on the pedestal.
Closer to notice there are rotating videos that depict
the replacements of two different sculptures.
Stacks of paint, 2014
Layers of paint removed from a wall.
Poster piece sculpture
was placed on a pedestal
close to the rack where
the gallery’s sales prints were.
Mondes Pararléls / Pararlel Worlds
Eglise St. Merry
Found timber, wood from recycled fruit boxes,
styrofoam, acrylic, plexiglass, cardboard, silicone, epoxy resin
The Notion refers to the space of the chapel and the materials the work is made of. Notions of the space, previous works of art and their parts are layered together. New things are always generated on the basis of some of the old. The environment is under constant change, but parallel to this, the stage of constant change is something permanent.
The Notion forms a dialogue with the space. The details of the chapel that aren’t part of the architecture; details that have somehow ended up there, such as a pile of timber in front of the altar, had certain order and meaning, but at the same time they looked like they shouldn’t have been there. They resembled construction waste or something that is about to be built.
I took these woods and reorganized them in relation to other parts of my installation and the form of the chapel. After the exhibition I reinstated them as they were.
Installation consists of two tree trunks made of venetian blinds, concrete sculptures, tin sculptures from wood chips, forms of the shadows of Ville Vallgrens small bronze sculpture Ruusutanssi, a wall construction consisting of dyed wood shavings, which are left overs from the act of carving an old installation part and parts of old works.
Venetian blinds, pop rivets, concrete, tin, silicone, pigments, acrylic, plexiglass, aluminum, plaster, wood.
Wood shavings were placed on the area that market the gallery space, which is in a corridor of the Aalto University School of Arts, Design and Architecture. When people moved in the space, wood shavings spread around and further away from market area. Through this act the gallery space expanded outside of its usual measures and peoples attention was drawn to the space itself.
Coloured wood shavings for garden decoration, wood shavings from an old installation part and hidden tin sculpture of shaving.