“An island must be viewed from a certain distance – far enough to be understood as distant and separate, but close enough that its shape stands out clearly and one can feel its call deep within. Then one can see the island as a personal theater stage, a framework for exciting illusions, a home for only the most essential things.“  

ISLANDS

2014 – 2016, a photographic series

“The series is an exploration in the imaginary Sea of Lights, where evolution is affected by myths, memories and nostalgia. Nostalgia uses shipwrecked thoughts and loose figments of reality to create places that are simultaneously hopeful and dangerous, strange and familiar.
 
The island have their own roles and tasks in the sea of memory - they are those parts of the human mind, where lost things get a childlike glow, but the terrain turns out to be treacherous and shallow.”

“Islands” was born from the artist’s long term fascination with islands as settings for stories about self-discovery. Born and raised on an island herself, for Laura Konttinen the island is the fundamental landscape and a visual motif that defines her perception. While working on the series, she drew influences from the multi-disciplinary field of island studies that later inspired her to write an essay about islandness, “Saaren käsikirjoitus” (in Finnish).

In exhibitions, each island in the series was accompanied by a descriptive text in an encyclopedic style.

The series contains 11 photographic works as fotosec prints, 74 x 50 cm, edition of 5. Works from the series have been purchased for the Jyväskylä Art Museum and Augustenborg Art Collection, Denmark.

Exhibitions

Works from the series have been exhibited among others, in solo exhibitions in Poriginal Galleria, Pori in 2016, Gallery Bronda’s Kellarigalleria, Helsinki in 2017, and in several group exhibitions such as New Narrative and Reader at Bury Art Museum & Sculpture Centre, UK in 2015, Salo Art Museum in 2015 and Organ Vida Photo Festival, Zagreb in 2018.

Making of

Islands were created by assembling pieces of photographs and various objects into miniature views, which were then photographed with a film camera. No AI was used.

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