I will be showing ‘A Patchwork of Memories’ , a installation consisting of 36 cyanotypes that I did earlier this year during my residency at 3331 Arts Chiyoda in Tokyo, at the exhibition ‘Pimiö – Darkroom’ at the Finnish Museum of Photography. The exhibition is about the original miracle of photography and showcases work by darkroom masters from the museum’s archives as well as contemporary artists working with analogue techniques. I’m very excited to be part of the show. The private view is on Wednesday 19.8 from 6-8 pm and the exhibition is open until 31.1.2016, so there’s plenty of time to see it. Welcome!
The work-in-progress show at the RCA opens tomorrow, so if you’re in London, come to South Kensington and see my latest work. I also got another exhibition at the moment, at Taylor Street Baristas in South Key. I’m showing my old series, Untitled (Objects of Survival) there, so if you haven’t seen it and feel like having a nice cup of coffee with some bankers, take the DLR down south and enjoy! Thanks to Katarina Hruskova for organising this.
This year I made cyanotype christmas cards. In case I didn’t have your address and you didn’t get one of these in the post, I still want to wish you a merry christmas, god jul, hyvää joulua und so weiter!
Now I’m gonna say goodbye to the wonderful world of the internet for a few days and spend some time with the best nephews ever.
Today I did some cyanotypes of my images from Stockholm. I like old school printing, I’m sure everything was better in the 1800’s. Except maybe hygiene and women’s rights.
This complicated title belongs to the work I did as my final work this year, for the Independent Critical Practice-unit. We could basically do anything, so I chose to do this. In this series I’m investigating the close relationship I have with my friends and family, even though the physical distance between us is great. Instead of using modern technology to keep in touch with people while I’m far away from them, I prefer writing letters. There is something so personal and precious about a handwritten letter. These images are a visual response to the emotions and memories the letters I have received while studying abroad have triggered, layered with images of the actual letter.
The images are solvent transfers on art paper, because I wanted to make my prints on something similar to notepaper. So thank you for writing to me, I really appreciate it.
To see what the rest of my year did as their final work this year, take a look at our blog.
Last Wednesday was the opening night for our exhibition Other Faces. The opening night went very well and we got really good response from people. Thank you everyone for coming!
And for those who could not come, here are some really crappy photographs of my exibited series Untitled (Objects of Survival #1-5). Unfortunately I don’t have any images of the installation of letters I had next to my work. You find my artist statement underneath the images.
These images don’t really give credit to my work. You can’t see the hand made texture of my images over the web, which really is a shame beacause it’s such a big part of my work. There’s a better picture of one of the images on the Deaf Cat web page (click here to view it). I’ll try to get hold of some installation shots later and pictures from the opening night as well.
Ida Taavitsainen’s (b. 1987 in Helsinki, Finland) work is concerned with memory, identity and family. Being the middle child and growing up between two cultures she has always struggled to find her place.
In this series she has photographed objects that she took with her when moving to England. The photographed objects relate to her personal history, as many of them are gifts from people she is close to, and therefore they are full of memories and help her feel safe and at home in her new country.
The images of the objects are juxtaposed with photographs of letters she has received from friends and family during her stay in England. Writing letters is Taavitsainen’s way of keeping in touch with those who matter most.
The photographed objects might not seem valuable to the viewer, but to Taavitsainen they are priceless. Some of the objects are in daily use while others only have sentimental value. She has deliberately photographed the objects from above, lying on fabric, like objects in a museum vitrine.
Taavitsainen’s images have a romantic nostalgia and longing for times passed. The images are salt and albumen prints, an old technique that dates back to the beginning of the history of photography. Taavitsainen’s choice to use this technique emphasizes her longing for the past.
This is a test shot and test print (and a rather bad scan) of my exhibition work (yes, we are having an exhibition in Rochester on December 2nd and 3rd, if I haven’t mentioned it yet) that I did during a salt and albumen print workshop on Monday. I’m really excited about alternative printing methods and salt and albumen is great, because you don’t need a darkroom!
My initial plan was to do some self-portraits for the exhibition but realized I can’t do them here, because I have absolutely no relationship to this place (well, except the fact that I study here). Instead I turned the concept over and now I’m taking pictures of objects that make me feel at home in this strange place called England. I’d really like to do salt and albumen prints for the exhibition, but so far I haven’t shot anything else than my sewing kit.
I’ll write more about the exhibition later.