IV FILM Beautiful Confusion (2017)


I made a hundred-meter-long painting on blank film in 2008, and named it Pori–Helsinki. Pori is the town I was born in and lived first 20 years of my life. Helsinki is the city I moved from Pori. For me, the painting process 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.

My second hand-painted film is Sea. Sea is painted upon the 35mm negative made of Pori-Helsinki. The result is dark scenes. The working title of Sea was Helsinki-Stockholm, as it was premiered at the same time in two cities across the sea, Helsinki and Stockholm. Pentti Dassum made the soundtrack.

The third film is Attraction, and it is painted upon the film copy of Sea. Attraction is an abstraction of nature and garden. Attraction also refers to the early film term “cinema of attractions”. Emma Augustsson, Anton Svanberg and Jesper Eriksson made the soundtrack..

The fourth film is Beautiful Confusion. It is hand painted on the film copy of Attraction. Beautiful Confusion is about the nature of things, the law of nature and messenger pigeons. In this piece, I have mixed video image with film. The soundtrack of Beautiful Confusion is built with the same principle as the image, using different technical layers. The soundtrack is a collage of P.P.Puska's and Zemlja's improvisations on top of c-cassette recordings from the eighties.

So in this open-ended (life-long?) series, each new work is painted as a new layer upon earlier works. Like episodes in human life, old works trail off when new ones emerge on the surface. This method of using the old as a background for the new makes the resulting chain resemble the human psychic system as it builds up over time. In this system, events of bygone episodes remain effective in the tacit substructures of one's personal history. Likewise, the old images on my film have not passed away entirely. They get restored underneath the film's visible layers and generate a reservoir of hidden images.

In this series, analogue and digital technology are interlaced the same way as it happens in many other things, nowadays. Besides hand-painting on physical film, there has been some amount of digital post-production already in the first work Pori –Helsinki, but increasingly in the works following it. So, after each new layer of paint, the film has been scanned into digital format, and processed. Lately, digital post-production has become a more obvious feature of this project.


III FILM Attraction (2015)



II FILM Sea (2013)



I FILM Pori-Helsinki (2008-)


©Miia Rinne