Pori–Helsinki (2008- )

"MY DIARY PROJECT" / SEDIMENTED PAINTINGS ON 35 MM FILM

I made the first painting on film in 2008. It is called Pori–Helsinki. Pori is the town I was born in and lived the first 20 years of my life. Helsinki is the city I moved from Pori. Pori–Helsinki shows colours and forms that create an illusion of passing sceneries, like seen from the window of a train. The work is a mixture of memories and psychological travel. Tapani Rinne and Tuomas Norvia (aka Verneri Lumi) have made the soundtrack.

My second film is called Sea. Sea is painted upon the 35 mm negative made of Pori-Helsinki. The result is dark scenes that resemble a sea view at night. The working title of Sea was "Helsinki-Stockholm". It was premiered at the same time in two cities across the sea, Helsinki and Stockholm. Pentti Dassum has made the sounds.

The third work to the series is named 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 have made the sounds.

The fourth work to the series is named Beautiful Confusion. It's hand painted on the film copy of Attraction. In this piece, I have also 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 a psychic 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.

About the technique:
Besides painting on physical film there has also been some amount of digital after process already in the first work "Pori Helsinki" but even more in works following it. So, after each new sediment (i.e.layer of paint) the film has been scanned into digital format and after processed. Lately digital after process has taken a more distinct role. In this series old analog technology and new digital technology are interlaced the same way as my memories back from the "old analog world" are mixed with more recent memories and ideas.

 

 

 

 

 


 

©Miia Rinne