“Natt igen” (english: Night Again) is an act of introspection in the form of a soft textile installation in the guise of an anatomic space within a space. The exhibition’s sculptures range across different shades of red, while Helenelund warps scale and proportions to create a dreamlike landscape that exists beyond logic and our cultivated world; a surrealistic forest of entrails that is both pleasurable and repulsive.
Night is the time we associate with rest, recuperation and dreams. Contours and colours vanish, the level of detail dwindles almost to zero. The whole conscious side of the human being is discarded and we allow ourselves to dissolve into emptiness; into a positive absence. Only the body’s autonomous functions keep going. During rest, the elementary processes, such as breathing, blood circulation and digestion, rise to the surface.
Helenelund has also discovered these primitive dimensions that are present in rest within her own artistic work. She sees art as a process that goes on in the background; as something that matures and becomes part of her autonomous nervous system. Like an intellect-free organ that pulses away outside her own body. It occasionally takes the form of something reminiscent of a hand, which leads her into the twilight, into the night, and on into a world where anything is possible. In the terrain that Helenelund occupies the thinking eye does not see. In the moment of creation, it is inner vision that makes the pieces fall into place.
Helenelund sometimes deploys a naivistic mode of expression in her sculptures, and there is a side of this exhibition that is tangential to 1980s thought-experiment, body-horror films. In which the human body is contorted, dissolves, and fuses with objects in its surroundings. In Helenelund’s exhibition we see this in the form of organic shapes and patterns, such as corals, veins, lungs, muscles, intestines and trees, that take over the dead surfaces of the gallery space in a ferocious, primordial fashion.
Corinna Helenelund (b.1985) lives and works in Porvoo and Berlin. She graduated with an MFA from the sculpture course at the Academy of Fine Arts Helsinki in 2013. Her latest solo exhibition, I don’t know if it’s real but this is how I feel, at the Old Kappalainen House in Porvoo in 2015 was positively received, and she has since exhibited, for instance, with Jupiter Woods at Interstate Projects in New York and in Rakvere in Estonia. Her stage design could even be seen in the performance Father Fucker at the Baltic Circle festival. This exhibition has been mounted with the support of the Swedish Cultural Foundation in Finland, Kone Foundation and Arts Promotion Centre Finland (Taike).