Ceramic Sculpture Six Artists by Suzanne Foley

By Suzanne Foley

Catalog of an exhibition of an analogous name held on the Whitney Museum of yankee artwork, Dec. nine, 1981-Feb. 7, 1982, and hence on the San Francisco Museum of recent paintings. Works by means of Peter Voulkos, John Mason, Kenneth rate, Robert Arneson, David Gilhooly, and Richard Shaw

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In their extensive visual research on change in northern forest areas, Ritva Kovalainen and Sanni Seppo comment on the implications of the loss of what for many is a primary space of contemplation, a part of Finnish identity; a spiritual home. Their starting point for The End of the Rainbow was an interest in the spiritual and the shamanistic, although as the visual research developed it became increasingly analytical and political (Kovalainen and Seppo 1997). Their concern is with the disappearance of forest, change in the Finnish woodland landscape and forest identity; for the Finns, forest is crucial space of spiritual replenishment, where human culture remains relatively unmarked.

2. I should like to acknowledge the support of AHRC, and also of FRAME the Finnish fund for art exchange for funding transport of Finnish works to the UK. 3. Liz Wells’ (curator) Viewfindings: women photographers, ‘landscape’ and environment opened at Newlyn Art Gallery in 1994 (subsequent tour to Watershed, Bristol; NMPFT, Bradford; Zone Gallery, Newcastle). I overheard this conversation when I happened to be in the gallery. 4. E-mail from artist, 23rd February 2004. 5. Andrejs Grants, discussion with author, Riga, August 2003.

Juha Suonpää, from Wilderness, 1990s, original in colour. lake offers an elemental spiritual experience, transcending simple cleansing and health. Just being is important; in Like a Breath in Light (ongoing) Marja Pirelä’s breathing is marked in a series of images taken at different times of year, always from the same position, sitting with a pinhole camera on her knee, facing north across the lake, open to the effects of elemental light and colour. The ensuing abstract images are suspended behind glass, as a group of floating impressions of light and colour, shifting in intensity in response to movement of light within the gallery.

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