Santeri Tuori has been creating his sky series now for nearly 15 years. Drawing from the rich tradition of landscape in the arts, Tuori wanted to give the sky a value on its own – as a pure cloudscape without the grounding weight of the land.
The sky above us is in perpetual motion, and the works echo the constant changes by combinig images from different places and times into one. Drawing from his vast archive of photographs the artist has collected through the years, he builds the images by layering separate images as well as black-and-white layers or negative inversions to create these uncanny works.The exhibition Immediate Nature in Galerie Anhava shows the most recent works of the Sky series, but also the very first one from 2011–12.
installation view: Jussi Tiainen
The series Immediate Nature is deeply rooted in the tradition of portraiture, something that has interested the artist from the early days of his career, and still remains a constant theme running through all of his works.In this series, features of close-up portraits emerge from the midst of dense, snow-covered branches, blurring the lines between nature and the characters. There is a close connection between the photographer and his subject, but also between the people and their setting: the photos of trees were taken in a nearby forest – in their immediate, surrounding nature.
For Santeri Tuori, the skies represent thoughts. With the new works portraying an individual cloud, it seems as though the intense rumbling of the cloud masses had calmed down giving way to something clearer and lighter.
The series follows the path of one single cloud that glided past the artist's roof. The photographs consist of two images superimposed on top of each other, creating visions with a beautifully uncanny light. Just as momentary as occasional, crystal clear thoughts might sometimes seem, so too the clouds gradually change form, becoming more dense for a short moment before eventually evaporating into nothing.
The Black Tree series depict London Plane trees, that were planted already in Victorian times all around London for their ability to tolerate urban environments. The large trunks are brought into focus from their faded-out surroundings, with the strong black ink on the light Japanese paper reminiscent of calligraphy.There are in fact two prints on top of each other: underneath the almost translucent kozo paper, there is the same image, this time on a thicker paper, creating a slight movement in the shape. The tree portraits also create a different kind of movement with their bare branches twisting from one piece to the other as if caught in mid dance.
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