Julie Nord: Dark Ink
26.11.2010–16.1.2011

Turun taidemuseon Studiossa aukeaa yleisölle 26.11. tanskalaisen Julie Nordin (s. 1970) näyttely Dark Ink (Synkkä muste). Studion mustalla seinällä on kolme suurta (188 x 245 cm) täyteen piirrettyä paperia. Ne näyttävät ensi silmäyksellä koristeellisilta ja jopa herkiltä. Teokset on piirretty äärettömän taidokkaasti täyteen lukemattomia yksityiskohtia, uusia kuvia ja aiheita. Tämä uusi ulottuvuus aukeaa Homecoming Queenin (Koulujuhlan kuningatar, 2010) mekossa ja kaupungin yllä leijuvassa savupilvessä teoksessa The Smoke from the Chimney (Savua piipusta, 2010). Teosten selkäpiitä karmiva puoli paljastuu vähitellen. Kukkaistapettimaisen taustan aineeton kummitus pelottelee pikkutyttöä, jonka sylissä istuu jänis karvat pystyssä. Suut ja silmät tunkeutuvat kaikkialle. Käsi painaa katkaisijaa ja jänis loikkaa.

Julie Nordin piirustukset vievät katsojan outoon maailmaan. Teosten ympäröimänä hän tuntee loikanneensa samanlaiseen kaninkoloon kuin Liisa seikkaillessaan ihmemaassa Lewis Carrollin lastenkirjassa (Alice’s Adventures in Wonderland, 1865). Ympäristö näyttää kauniilta ja houkuttelevalta, mutta Nordin teosten lähempi tarkastelu saa katsojan ymmälleen. Miksi kissa pitää lasta sylissään? Nukkemaisella pikkutytöllä on käsissään avonaiset sakset, joilla voisi leikata vieressä olevan paperinuken. Vai onko tyttö leikannut itsensä irti paperista?

Julie Nordin kuvamaailma on hyvin tuttua. Piirustukset ovat tulvillaan aineksia paitsi lastensaduista myös sarjakuvista, tatuoinneista, kauhuelokuvista ja varjoteatterista. Silti niissä on jotakin ennen kokematonta ja tuntematonta. Kuin muste, ne muuntavat muotoaan. Katsojan pää menee pian pyörälle siitä, mikä on hänen mielikuvituksensa tuottamaa ja mitä kuvat kertovat.

Vaikka suurin osa Julie Nordin teoksista on piirretty tarkasti, on kuvissa myös vapaita, sysimustia mustetahroja. Ne peittävät, valuvat ja vetävät puoleensa mutta myös uhkaavat. The Painter -teoksessa (Maalari, 2009) taiteilijan pää on poissa. Jäljelle on jäänyt tyhjääkin tyhjempi mustepilvi. Elääkö se? Vaikka Julie Nordin taiteen maailmassa voi viipyillä ja rakentaa omia tarinoita, tuntuvat kuvat nopeilta välähdyksiltä hetkistä.  Ne tuntuvat huutavan äänettä. Helikopterin ääni kaikuu pään sisällä. Kaikki ei todellakaan ole sitä miltä näyttää.

Julie Nord toteuttaa osan Dark Ink -näyttelyn teoksista seinämaalauksina. Näyttelyä on tukenut Suomalais-tanskalainen kulttuurirahasto.

Taiteilijatapaaminen
Torstaina 25.11.2010 Julie Nord kertoo englanniksi taiteellisesta työskentelystään Turun taideakatemian (Linnankatu 54–60) Kuvateatterissa klo 14 alkaen. Tilaisuuteen on vapaa pääsy ja se on avoin kaikille kiinnostuneille.

 

TEN QUESTIONS TO THE STUDIO ARTIST JULIE NORD

1. Could you tell how you start planning your art works and how the work proceeds?
It usually starts out with a very loose idea, normally it's not intellectualized at all at this state. It can be a certain relation between two figures, a new way of using the empty white paper in a drawing, or it can be a specific pattern or object I find in a book, and find inspiring. It’s like writing the first line an a novel, without knowing anything about how the book will continue or end. Still this first line is very important for the atmosphere and intensity of rest of the book. I usually start drawing the human figures, and then the picture slowly emerge around them. Since its paper, and I can't undo the drawing, when made with ink, pen or watercolour, it’s a very concentrated process. I use a lot of time just starring, almost meditating, at my drawing, before "attaching" with my pen. It's a constant dialogue between me and the drawing, since the finished work always ends up being very far from the original sketch, meaning that it's also a spontaneous process. I always look at a lot of pictures and photos when I work, to get in-spired.

2. With which themes have you worked for this exhibition?
The concept of the expected versus the unexpected. Pictures of innocence, the romantic idea of childhood (seen from an adult perspective) and the darkness of the mind. The invalidation of the line between reality and illusion.

3. Why are these subjects important to you?

I've always been interested in distortions. I think it's important to keep questioning the common constructions of  reality, to keep an open mind.

4. Have you worked for a long time with these subjects?
Yes, more or less since 1993, but in different ways and medias.

5. Could you tell about the technique you have used for the art works in this exhibition?
I use drawing Ink, felt-tip pens and Posca pens on paper. The walldrawings are made with Posca pen and wallpaint. For the large scale works and the wall drawings, I start out with a very precise sketch, but I always do some improvising on the way, to make it alive and vibrant.

6. Is this technique typical for your working?
I also work with watercolor, which is quite different from the very precise and sharp black and white drawings. Watercolor is a more emotional, soft and spontaneous expression, and the colour takes away the cool, formal distance of the black and white drawings. On the other hand I have a very special relation to the simplicity of the line, and I think drawings are a very honest and almost transcendent  "No-nonsense" media. I like to change between the two tech-niques and sometimes I mix different media in the same picture. I've also done a very simple animation film, and would like to do some more works including animation. Before, when I was an art student, I've also worked with acrylics on canvas, video and installations.

7. On which aspects have you especially concentrated regarding the preparing of this exhibition?
I wanted it to be a rather cool and graphic exhibition. I also wanted the physical room of the Museum to be drawn in as an active part of the experience of my works, which is why I also make drawings directly on the walls.
I've been choosing works in different scales, from the very large scale to smaller sizes. There is a lot of small details, especially in the large works, and I've been very interested in the variation between the intimate lines and details and a very direct and right in the face expression, inside the same works. You get a very immediate visual experience when you enter the room, after that you can use a lot of time tracking down all the little details and stories inside the works.

8. What does this exhibition at Turku Art Museum mean to you?
It's my first soloshow in Scandinavia, apart from Denmark. I'm curious how my works will bee seen in Finland.

9. Which other art fields are close to you and why?
Movies. I watch a lot of movies. It's about narration and movement, but funny enough I'm almost never able to remember the plot afterwards. I think I see movies as an enormous amount of still-pictures.
In my own work I try to create an atmosphere of "Impending Doom" – of something just about to happen. Often the works are like snapshots  from an imaginary story or movie, loaded with unsolved mystery and frozen suspense.

10. Could you tell about your future plans?
I would like to make some more very large works, it's extremely time consuming to make these works, but I like the combination of the big scale and the ultra fine lines. The intimacy of the drawing becomes so massive in that way.

www.julienord.dk

Turun taidemuseo, Aurakatu 26, 20100 Turku, Puh. 02 2627 100. © 2014