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Jussi Niva Main Profile Image

Gunter Lepkowski

Jussi Niva

Helsinki, Finland

Painting • Born in Pello, Finland • Studied at Helsinki, Finland

Published  25/02/2017   |   Updated  11/02/2018

Two-Way (Lost Twice)

I am currently painting two-dimensional surfaces and three-dimensional objects in parallel, because I want to detach the experience of three- dimensionality from the ‘modelled form’ and link it instead to the surface of the painting. The three-dimensional works are interventions of sorts, they thrust into the space but conversely they also project space.
Paradoxically, I have noticed that I work with them in opposite directions...

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I am currently painting two-dimensional surfaces and three-dimensional objects in parallel, because I want to detach the experience of three- dimensionality from the ‘modelled form’ and link it instead to the surface of the painting. The three-dimensional works are interventions of sorts, they thrust into the space but conversely they also project space.
Paradoxically, I have noticed that I work with them in opposite directions spatially. I construct two-dimensional works by painting a volume or by piercing the surface. When I paint three-dimensional pieces, I do it optically against a wall. I also personally associate this method with reliefs and the experience of depth in them.
The surfaces in my work do indeed break up and search for direction. For me, the sharp angles are above all points where the surface of the painting makes a turn, disrupting its frontality, which immediately makes the work more interesting. Viewers find themselves in a danger zone or embroiled in something that exists independently of them.
The eventfulness in my works is generally not logical; I am interested in seemingly impossible spatiality. I construct spatial paradoxes into my works, surfaces of collision or friction that seem to lead to a destination. The situation is a bit similar to groping one’s way blindly in a new environment.
There is no point of painterly knowledge or control. The spatial experience of my work cannot be fixed to any single cognitive or experiential point. Instead, the works are loaded with elements that lead to fracture, such as acute angles where the surface of the painting takes a surprising turn. I also deliberately use a forceful stroke technique to give the planes a spatial direction and an accelerating motion. Often, however, this conflicts with the three-dimensionality. I am intrigued by such disturbances, violation or intervention.
I need geometry for some reason. But my geometry is of a kind of cut-and-fold type. Dividing a plane into ever-smaller parts will always involve geometry or mathematics. But I have no interest in systematising the principles of spatial division. I am interested in intuitive progress instead. At the same time, I am very careful to keep the level of experience moving. Instead of constructing interesting forms, I decompose structures of space-time into images, offering viewer-subjects an opportunity to situate themselves more individually within.


EXHIBITIONS

SOLO

2016

Mime, Galerie Forsblom, Helsinki, Finland

2014

Foldaway, Galerie Forsblom, Helsinki, Finland

GROUP

2014

Space - Abstract Interventions & Social Media, Salon Dahlmann, Berlin, Germany

Feel the Spirit, EMMA-Espoo Museum of Modern Art, Espoo, Finland

WORKS IN COLLECTIONS

EMMA- Espoo Museum of Modern Art, Espoo, Finland

Heino Art Collection, Helsinki, Finland

Kiasma Museum of Contemporary Art, Helsinki, Finland

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PUBLICATIONS


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