Miia Rinne
OPEN FILM 2008 –

Moving image, mixed media

I
In 2008, I made a painting on a hundred-meter-long blank film, and named it Pori–Helsinki. Pori is the town where I was born and lived for 20 years. Then I moved to Helsinki. The process of hand-painting this film was a mental travel between these two places. Tapani Rinne and Tuomas Norvio (aka Verneri Lumi) made the soundtrack. Pori-Helsinki formed the basis for the films following it.

II
The next film was Sea (2013). Sea shows nighttime waves, life under the sea, and millions-years-old amber at the bottom of the sea. Sea is painted on a 35mm negative copy made of Pori-Helsinki. The result is much darker scenes, but also what Freud called the ‘oceanic feeling’, ego submerging with the universe. Sea was premiered at the same time in two cities across the sea, Helsinki and Stockholm. Pentti Dassum made the soundtrack.

III
Attraction (2015) is painted upon Sea. Attraction is done after my visit to the painted garden of Livia in Rome. Besides, Attraction refers to the early film term “cinema of attractions”. Emma Augustsson, Anton Svanberg and Jesper Eriksson made the soundtrack.

IV
Beautiful Confusion (2017) is painted upon  Attraction. Beautiful Confusion deals with the nature of things, the law of nature and messenger pigeons. Like the image, also the soundtrack consists of analog and digital layers. The sound is a collage of P.P.Puska's and Zemlja's improvisations upon c-cassette recordings from the eighties.

V
The fifth film, Mixed Feelings  (2020) has lots of movement and passing views, but in contrast also tiny microscopic dust particles, that were drifting around the studio and caught onto the film. In this film, analog and digital working are more mixed with each other than in the beginning of the series. The soundtrack consists of P.P. Puska’s music and 4-track recordings on old compact cassettes. The new sounds are stored among the old tracks on the cassette and completed digitally. Using c-cassettes in the work refers to a time when friends made mixed tapes to each other.  

VI
When painting the sixth film, New Worm (2021), I let the images emerge from the subconscious and lead the way. After painting – and digitizing – a hundred meters of film, I cut fragments from my video archives and added them. I also examined the images with a magnifying glass and zoomed in on the details. Words also crawled out from somewhere. The soundtrack consists of P. P. Puska’s music and four-track recordings on used cassette tapes.


The film keeps on metamorphing.


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© Miia Rinne