For the Glossolalia exhibition Timo Andersson has made a site-specific installation consisting of freestanding works: paintings, a series of sculptures, and a sound collage. The exhibition is colour coded in five colours according to a functional, industrial model. The show is abstract and expressive, and has its origins in ideas about the mechanisms of language and communication.
Andersson’s work is to a large extent based on choices of materials, colours and objects, and he works with the signals and meanings that are emitted from them, and with what he as an artist can bring about by modulating that flow. Glossolalia is a modelling of a form of non-semantic communication, in which a dialogue nevertheless arises between the different parts of the installation. He has given Glossolalia a structure that is built up like a text. The individual works have different behaviours and appearances, and the different materials and objects both pull apart and gravitate together like words in a story. The pictures are on the verge of dissolution, and the sculptures stand and sway, seeking a balance.
Andersson has previously made use of calligraphic signs and tag-like symbols. Here the artist’s hand, line, colour and message are clearly visible on the surface. In his new paintings he works in multiple layers of information. He has the spray-painted lines, points and phrasings merge together into a controlled cacophony, in which isolated meanings are dissolved, and instead a visual white noise takes over. The paintings are made on a fine synthetic mesh, which is stretched in layers on top of one another. Each layer that is applied makes the paintings both deeper and more serene. It is in such work that Andersson also finds his own serenity. The repetitive working process in itself becomes a refuge, where the artist can hear his own voice and his own language.
The deep moiré patterns in these meditative paintings are contrasted with the spontaneous frenzy and unsettled character of the sculptures. The sculptures are partly readymade, but they have been recalibrated, reworked and repainted. They are industrial objects that have shed their skin. At the same time as they have been given a new appearance, they also bear traces of a human touch. The objects are relieved of their task, and are no longer restricted to the functional purposes that gave them their original form.
Andersson has been working with sound for a long time, but this is the first occasion on which he is presenting a sound work in an exhibition context. The sound collage in Glossolalia acts as an immaterial sculpture, which operates in the background, shaping the way we look at the rest of the art in the room.
Timo Andersson (b.1989) lives and works in Helsinki. Last spring, he took part in the Kuvan Kevät exhibition of Master’s programme graduates’ work at the Academy of Fine Arts Helsinki, where he is just completing his Master’s studies. In January, he had a solo exhibition, Air Quotes, at Titanik in Turku, and, in March, he and Joonas Hyvönen will be showing at the Myymälä 2 Gallery in Helsinki. Glossolalia is his third solo exhibition.