On the morning of my 40th birthday I found myself browsing the Internet, trying to find anti-aging creams for 40 something women. I do not use creams; in fact, I don’t think I currently even own one! It’s surprising and a bit intimidating how we internalize things – example things, that we consciously choose not to foster. Why am I mentioning this? Well, my current painting practice is very much concerned with the position of I in contemporary society, simultaneously harking back to my ancestral heritage and geopolitical origins. I was born in 1979 in the former Estonian Soviet Socialist Republic, then part of the Soviet Union.
My paintings/sculptures are created from dried layers of acrylic or household paint. I manipulate my work at different drying stages by scraping, folding, cutting, drawing into and building up. Some of my paintings are built up by collaborating collage techniques and traditional handcraft, such as basket weaving, knitting and crocheting. I choose my references quickly, working from a gut instinct; then I convert the selected image into what I loosely describe as a ‘painting’. These ‘paintings’ blur the boundaries between painting and skin. In these works, I seek to create a tension between the logic of ‘should’ and the logic of ‘play’. Creativity is in any case a game. It’s a leap in a certain way, I myself introduce several obstacles. If I make sure to leap in a certain way, I can arrive at something good. I try to use paint, not as it ‘should’ be used – a medium to be applied to a surface using specific tools – but as a form-able, tangible, almost sculptural medium ripe for manipulation. I am attracted to the neutral quality of paint, and its liquidity, finding it as responsive as clay. In several large-scale works using household paint, I use the infrastructure of paint as a surface and backing/canvas, pushing material to its limits. I understand that household paint decays – and loses the qualities that I value, but these qualities of it are too appealing and irresistible. They allow me to create sensual, all curved lines and skin-like material, papery thin and fragile or seductive as treacle but repulsive as a wound. They appear as ‘skins lifted off the surface of the painting’, magically suspended in mid-air, a merging of light, colour and gravity.
But now, let’s go back to the morning of my 40th birthday. Judith Butler says: “The traumatic repetition of what has been foreclosed from contemporary life threatens the “I.” Through that neurotic repetition the subject pursues its own dissolution, its own unraveling, a pursuit that marks an agency, but not the subject’s agency – rather, the agency of a desire that aims at the dissolution of the subject, where the subject stands as a bar to that desire.” We embody social concepts of example; age, gender or nation through continuous repetitive voice – a voice that originates from outside, but eventually becomes our own.
2017-2019 National College of Art and Design (NCAD) Dublin
MFA (Hons) Fine Art Painting
2011-2015 National College of Art and Design (NCAD) Dublin
BA (Hons) Fine Art Painting
2010-2011 Portfolio course, National College of Art and Design, Dublin
1986-1990 Parnu Fine Art School, Parnu, Estonia
RDS Concert Hall, Student Art Awards, Monster Truck Studio Award, July 28, 2015
Studio residency, MART Project Space, Dublin, Ireland, June - August, 2015
Cill Rilaig Artist Residency, County Kerry, Ireland, 7th - 15th January 2017
2015, ‘Art’s New Wave’, Irish Arts Review, Autumn Issue
2015, ‘Fresh Paint Magazine’, October Issue
2015, 'Aye Magazine'. Online November Issue
2016 July, ' Studio Visit Magazine', Volume 34, USA
2016 August, ‘The International Painting Annual (INPA6)’, Manifest publication, Ohio, USA
2016 October, ‘Average Art’, Volume 3, UK
2017 January, 'Contemporary Art Curator' online Magazine
2017 April, ‘Art Maze Magazine’, Issue 2
2017 May, ‘Bare Magazine’, Issue 2
Susan Butler, 'Cheat Sheet: Summer group shows (and what curators are writing about them), Two Coats of Paint, 'Two Coats of Paint Blog',July 19, 2016
Deborah Stambler, "Fold, Paint, Display - Two New Artists at Bergamont Station," The Huffington Post, July 6, 2016
Aidan Dunne, "The tricky ethics of painting human suffering," The Irish Times, July 27, 2016
The Cucumbers - Office of Public Works (OPW) Irish State art Collection (2016)
Bless this Mess - Office of Public Works (OPW) Irish State art Collection (2018)
Affiliations and Membership
Visual Artists Ireland
Selected Solo Exhibitions
Location RHA Ashford Gallery, Dublin, Ireland
Title of Exhibition ‘New Work’
Curator: Ruth Carroll
Selected Group Exhibitions
Date 12th – 21st of June 2015
Location National College of Art and Design, Dublin
Title of the Exhibition 'Degree Show'
Date 28th – 30th August 2015
Location RDS Concert Hall
Title of the Exhibition 'Student Award Show'
Date 21th - 24th August 2015
Location MART Project Space, Dublin, Ireland
Title of the Exhibition 'Saw Dust'
Date 10th – 30th September 2015
Location Dublin, Ireland, Lighthouse Cinema,
Smithfield, Dublin 7
Title of the Exhibition ‘SCOOP Art Auction and Exhibition’
Juried Exhibition: Date 25th September – 23rd October, 2015
Location USA, Cincinnati, Ohio
Title of the Exhibition ‘Season 12 FRESH PAINT Exhibition’
Date 4th March - 8th April 2016
Location Wexford, Ireland, Presenation Arts Centre
Title of the Exhibition 'Behind the Margin'
Date 10th - 13th of March 2016
Location Dublin, Ireland, The Fumbally Exchange
Title of the Exhibition 'Perennial'
Juried exhibition: Date 22 March – 11 June 2016
Location Royal Hibernian Academy (RHA) Gallery
Title of the Exhibition Juried ‘186th RHA Annual Exhibition’
Date 28th April - 1st May
Location USA, Los Angeles, Paloma Studios
Title of the Exhibition 'Borderlands'
Curator: Kimberly Corday
Date 21st May
Location Facebook, Virtual Exhibition, USA, San Francisco, Gallery 011
Title of the Exhibition ' Impossible Possibilities'
Date 25th of June - 17th of July (invited to participate)
Location Denmark, Copenhagen, Galleri Oxholm
Title of the Exhibition 'Fernisering: SOLO - "POV" af Olav Mathisen & sommerudstilling'
Date 8th of July - 10th of August (invited to participate)
Location, Dublin, Ireland. The Molesworth Gallery
Title of the Exhibition 'Vains // Small ..... far away'
Curators: Davey Moore and Peter Pendergast
Date 9th of July - 31st of August 2016 (invited to participate)
Location USA, California, Santa Monica, Craig Krull Gallery
Title of the Exhibition 'Paint is a Thing'
Curator: Director of Craig Krull Gallery, Beth Parker
Date 19th Nov – 26th November
Location, Facebook, Virtual Exhibition, USA, San Francisco, 011 Gallery
Title of Exhibition ‘Nowhere and Everywhere’
Date 30th Nov – 16th January 2017
Location, Estonia, Parnu, Parnu City Gallery
Title of Exhibition ‘Parnu Annual Art Exhibition’
Date 11th – 16th May
Location, Dublin, Ireland, NCAD (National College of Art and Design) Gallery
Title of Exhibition ‘Bare Magazine’ Issue two launch
Date 10th – 20th May
Location, Dublin, Ireland
Date 10th – 20th May
Location, Dublin, Ireland
Date 12th – 17th October
Location, Dublin, Ireland, NCAD (National College of Art and Design) Paint Department
Title of Exhibition ‘Red Week’
Date 10th – 20th of March
Location, Dublin, Ireland, Point Square
Title of Exhibition ‘All Other Places’
Date 23rd – 26th May
Location Mary’s Abbey, Dublin, Ireland
Title of Exhibition ‘Bunker’
Date 8th – 16th June
NCAD, Thomas Street, Dublin, Ireland
NCAD Show 2019
Date 20th June – 31st August
Location ‘Draoicht’, Dublin, Ireland
Title of Exhibition ‘Platform 2019’
Date 2th – 5th July 2017
Location, Killorglin, County Kerry, Ireland