by Marja-Leena SUPER-SIZED: the BIG print show featuring works by Chuck Close, Helen Frankenthaler, Graham Gillmore (from BC, Canada), Richard Diebenkorn, Robert Motherwell, William Kentridge, Ed Ruscha, Richard Serra, Kiki Smith and others, will be at the Greg Kucera Gallery in Seattle, WA, USA from May 14 – June 12, 2004.
Have a look at the works on the gallery’s excellent website. Worth a trip to Seattle!
by Marja-Leena Art Addict writes an interesting blog about collecting art and has posted several useful articles on the handling, cleaning and displaying of artworks, and a recommended book on the subject.
Kerry at Art Myth writes about the proper care of oil paintings and offers some interesting and useful links about art conservation.
I’d like to add another important consideration in the care of artworks, those that are done on paper, and that concerns the archival issues: are the materials stable and permanent? We know what happens to newsprint which is not acid-free and yellows and deteriorates quickly. Old books are another example. From my own experience as an artist who works mostly on paper, I have sometimes found a lack of understanding amongst some buyers and even some framers about the archival concerns of handling artworks on paper. When I sell an unframed print I try to give a mini-lesson on this issue and encourage using a reputable framer and requesting archival (acid-free) matting and mounting materials.
The choice of acid free papers, adhesives and other materials are really part of the artist’s decision-making right from the beginning, whether making prints, drawings, watercolours, collages, or handmade books. When inkjet printing became popular for everyone, new demands arose. At first it was difficult to find archival papers and inks, but there are many choices available now. Have you thought about what your inkjet photos are printed on? Is your photo album archival? My old ones are not, unfortunately, as it was not a well known issue until recently.
Check out the wealth of information at Wilhelm Imaging Research. They have been conducting intensive tests on traditional papers for many years and “research on the stability and preservation of traditional and digital color photographs and motion pictures. The company publishes brand name-specific permanence data for desktop and large-format inkjet printers and other digital printing devices. Wilhelm Imaging Research also provides consulting services to museums, archives, and commercial collections on sub-zero cold storage for the very long term preservation of still photographs and motion pictures.”
Opus Framing and Art Supplies provides how-to resources in PDF format on their website. Check out the following helpful articles: Why Frame your Art Work, Notes on Hinging and Digital Fine Art Papers.
No, I’m not promoting any companies here, just their useful information, in the hopes of extending some knowledge about these issues. Of course, there are many artists who are not concerned with the permanence of their works, impermanence sometimes being a statement in itself, and that is fine, as long as the buying public understands these issues.
by Marja-Leena 
Nexus: Vyg & Willendorf
inkjet print on Hahnemuhle watercolour paper
61 x 80 cm. (24″ x 31.5″)
The three skiers are images of Finno-Ugric rock carvings from the Vyg River, near the White Sea in the Karelia region of northwestern Russia, based on a photograph by Loit Joekalda of Tallinn, Estonia and used with his permission.
The female figures are my drawings of the Paleolithic Venus de Willendorf figure found in Austria, a recurring image in many of my works.
More pictures of Venus can be seen here.
Edited Jan.13, 2013 with larger image.
by Marja-Leena Speaking of award-winning printmakers, here are some more that I’d like to tell you about.
As I have written before, the Krakow Print Triennial in Poland is one of the world’s largest and most prestigious international print competitions. They publish a wonderful big catalogue which is distributed to all participants, after all the traveling exhibitions are over and the works are returned.
So, I was thrilled to get one earlier, from a family member who went to see the show in Oldenburg, not far from her home. Though I knew who won the Grand Prix, (a friend who lives here in Greater Vancouver, Canada), I had not seen the prize-winning work until I saw it in this catalogue: Davida Kidd’s digital print called Navigator. Then I found it on the Triennial’s excellent and extensive website, along with the many other fine award winners’ works, so that you can have a look too. (Click on the images to see larger.) Davida received a free trip to Krakow for the award and will have a solo exhibition at the next Triennial in 2006, as is customary. She has won many awards for her work but this is perhaps the best – congratulations!
UPDATE March 21.05: Krakow Print Triennial’s website has been undergoing renovations and these pages are no longer available. I’ve updated their link above. They now have a new site Icondata where some of Davida’s works may be viewed under World Prints – Canada.
by Marja-Leena In some recent correspondence with friends Virge and Loit Joekalda in Tallinn, Estonia, I learned that Virge has won her country’s prestigious Eduard Wiiralti Young Artist’s Award for 2004. They sent a large format PDF catalogue of the Awards, which is so inspiring that it has made me want others to see it. A few examples can be seen here. One of Virge’s drypoint prints is on the bottom of the page.
The link to download the catalogue (PDF) is on the middle of the page. Though it’s quite large, it is worth a read and a look at the various award winners’ works. The English introduction begins on page six, including an explanation of the triennial award competition, and some descriptions of some of the works and their creators. Here is what is written about Virge’s work:
To a large extent, the title ‘Organograafika’ (organic graphics) could be applied to Virge Joekalda, whose energetic, as if flowing, simultaneously emotional and powerful forms reflect the dynamics of nature. Virge Joekalda has preferred dry-point technique for years; for the accomplishments in this field, she won a prize at the World Print Festival in Ljubljana in 1998. However, once again it should be pointed out that not her previous achievements but the works ‘Minu aed VI (My Garden) and Metsik aed I and II (Wild Garden) (2003) with their elegant laconism, successful colour resolution and direct expressivity gave her the Young Artist Award. Look for her gorgeous prints on pages 29 to 31.
Interestingly, the first award winner in 1998 for Senior Artist was Vive Tolli, whom we met at an art opening in Tallinn in 2002 and learned that she was Virge’s teacher! See her work on pages 18 & 19.
Digital printmaking is on the leading edge in print competitions around the world, so it was not surprising to find that the Young Artists’ Award in 2001 went to Ulle Marks and Jyri Kass for their “Jalg I-III (Trace)”, who “used a sensitive language of the human body. […] The same works were granted the Gyor Prize at the VI International Drawing and Graphic Arts Triennial in Gyor, Hungary, in 2001. Their cooperative works were also awarded at the Krakow Print Triennial in 2000, and at the Tallinn Triennial in 2001.” See pages 24 & 25.
And, congratulations again, Virge!
by Marja-Leena 
(Detail of a deeply etched copperplate)
This weblog has been online for just over three months and what an exciting time it has been for me. I have learned a great deal and met many great bloggers and readers and had very positive feedback, thanks everyone! The writing has helped me focus my thoughts about my work and the many things that interest me and therefore influence the work. It provides a place to keep all the fascinating information that I have gathered over the years, and still keep finding.
The site design has been undergoing some improvements as I go along and understand the process more and how best to arrange my information. I wished to separate some of the “professional” area from the blog themes or categories, so those interested in viewing my work can access it more quickly. To that end the contact link, cv, and recent exhibitions are now under “Marja-Leena” and my prints, and the statements about them that I hope to add soon, can be viewed under “Printworks” within their series. Also I can now access my links list and add a few of my favourite blogs over time. Let me know what you think, or if you discover any errors in navigation (sorry!) …I’m still fine tuning.
A big thank you to Jonathan for suggesting I do a blog, teaching me so patiently, for designing the site, and rearranging things everytime I change my mind!
by Marja-Leena I’ve been enjoying reading North Coast Cafe for a few weeks, but only recently did I dig deeper into the Visual Arts category, and found this fascinating January 26th entry:
Emotions in Art and the Brain. This was the theme name for a conference on neuroesthetics that was held back in January and reported in the Washington Post:
If you stick people into a machine that does functional magnetic resonance imaging (fMRI — a brain scan, in layman’s terms) and then show them paintings they find beautiful, you can see certain characteristic bits of their brains going wild with delight — or so suggests the recent research of Semir Zeki, an eminent neuroscientist at University College London who’s recently also become a leader in neuroaesthetics. The brain shows a slightly different response to ugliness, including stirring up motor centers that also buzz when someone’s angry.
Do read the posting and the article for yourself. I do believe the findings have some truth, and the writer of North Coast Cafe gives some examples of these feelings. Yet I’m left with many questions. Why does artmaking make us artists feel better? Why do some art works create a happy buzz for one person and an angry buzz for another, or no reaction at all? Are some people more “sensitive” to art naturally, or is it because of education? As an artist myself, these questions frequently test me. I wonder if science will be really ever be able to measure all these complexities in art’s effect on human emotions, and is it necessary?
by Marja-Leena One of the most important festivals of the year, the first day of May is a popular celebration in Scandinavia. This originally a worker’s holiday has turned into a massive celebratory festival for current and graduated high school students particularly in Finland, where it is better known as Vappu.
The name Vappu derives from St. Walpurgis, whose feast day is observed on the 1st of May. The eve of St. Walpurgis’ day has long been considered a night when witches and evil spirits come out. Vappu offers something for everybody: the international workers’ movement, European celebrations of spring, the traditional springtime revelry of Scandinavian students, the modern street carnival and the Finnish enthusiasm for drinking.
More traditional events happening are marches and demonstrations taking place across the country to celebrate the workers’ spirit. This is particularly the time for political parties and union leaders to give speeches to the faithful listeners. For others, this day is spent outdoors, Vappu after all marks the beginning of summer for the Scandinavians (even if it may be snowing on this very day). Friends and families gather around for a picnic, including some traditional delicacies, such as Tippaleipä (sweet may day biscuit) and Sima (mead).
I remember growing up with my mother always making sima, really a kind of sparkly lemonade, and the deep-fried crullers “tippaleipä” – yum! Newly greened birch branches were gathered as symbols of spring. Hauskaa Vappua, Happy May Day!
Addendum: What a coincidence! Amy at Ever So Humble writes about Walpurgisnacht.
Vappu originates from this German word and custom, though of course it has modified over time to another version in Finland. We have been through these beautiful Harz Mountains (my husband actually comes from nearby), and they certainly are unusually mystic in feeling, and the towns are wonderful! Lots of interesting reading and pictures here. Happy Walpurgisnacht and thanks, Amy!
by Marja-Leena Rock carvings and paintings are found throughout the inhabited world. In British Columbia alone, over 500 examples of this type of archaeological site have been recorded, more than in any other province in Canada.
Last week, on our way to the west coast of Vancouver Island, we stopped to look at a site at Sproat Lake Provincial Park. Like most petroglyphs, it had worn down considerably but still was a fairly impressive sight, like a mural carved on a rock face on the edge of the lake, the lowest images partly submerged. Below is one photo of this, the details are even harder to see here as the light conditions were not ideal.
On our return journey we stopped at Petroglyph Provincial Park, Nanaimo. This was most disappointing because the numerous rocks scattered on the lovely hill were quite worn down. Concrete castings had been made of the originals but these were also quite worn and hard to decipher (the website’s photo was misleading). It was rather sad to see the results of weathering and especially the vandalism and sometimes a lack of enough care and appreciation.
I have used some BC petroglyph images from Hornby Island, in some of the Paths series and a few of the Nexus series of prints. Can you find them?
by Marja-Leena Last week my husband and I went to our favourite retreat on the west coast of Vancouver Island, staying in a small, rustic oceanfront cabin near Pacific Rim National Park and Tofino. It had the basic necessities of a small kitchen and bath but no TV, phone or internet. Between many walks on long sandy beaches and rainforest trails, we sat at a table by the window, or outside when sunny, and gazed at the ocean and how it reflected the changes in weather, tides and even a glorious sunset one evening.
In perfect harmony with all the eye candy, we listened to hours of our favourite music, mostly classic, that we had downloaded from our CD collection to our iPod, a Christmas gift to each other. It provided music during our drive, through the car’s speakers, and in our cabin through the cutest portable little speakers (a birthday gift for each other!) with wonderful sound, the Altec Lansing inMotion.
Lots of reading of an eclectic variety kept our minds stimulated and spurred some interesting read-aloud moments and discussions, including:
1. Douglas Todd’s articles in the Vancouver Sun (no longer available) about “A Nobel Gathering in Vancouver”, the visit of the Dalai Lama, Desmond Tutu, Shirin Ebadi, Jo-Ann Archibald, Salman Schachter-Shalomi and host Michael Ingham which included a gathering of Buddhists, Christians, Sikhs, Jews, Muslims, First Nations and others. This was organized by the Vancouver Multi-faith Action Society to allow many to hear the wisdom of these elders who “will offer insights on courage, happiness, community building, liberation, terrorism, ecological survival and the Iraq war” and “how to integrate heart and mind”.
2. Common Era, Best New Writings on Religion, Volume I: is about interfaith dialogue, sexuality and spirituality, ecology and the soul, post-modernism and politics, women’s spirituality and mysticism, by many different authors including Vaclav Havel, Bill Moyers and Allen Ginsberg.
3. Amriika, a novel by M.G.Vassanji, about an Indian-East African student who comes to America in the late 60’s and is caught up in anti-war demonstrations, revolutionary lifestyles, and spiritual quests. The Vietnam era sounded remarkably similar to our current Iraq war era!
4. Sightlines: Printmaking and Image Culture, edited by Walter Jule, is an excellent collection of images and word, gathered in conjunction with the international Sightlines symposium in Edmonton, Canada in 1997, about the printmaker and the print from many angles and in many countries.
We found amazing connections between all these, almost like synchronicity because our choices were spontaneous, unplanned selections from the local public library and home.
Then, there was this ongoing project for this technically challenged photo-based printmaker to learn the complexities (ie. beyond “automatic”) of the digital camera with the help of my very technically minded husband, and I did do some trial shots, but I’m still more comfortable with our old but good SLR! But here’s one of my photos of kelp in the sand, and one of his of the sunset.
We also visited a couple of petroglyph sites on Vancouver Island, but I will write about these in another post!
So, the week was a real treat and retreat, good for mind, body and soul.