October cloud weather, the in-between-season.
A travel from the city of Helsinki, to countryside garden space in Hiidenvesi.
This is a space for inside – outside interaction.
Over 30 minutes, with an active paper space, a frame
Ilford orthose large format film, older than me, found material that used to belong to my father.

I am here, sitting still
breathing with this sensitive material. And the garden.
The coldness and humidity of the air
flowing slowly inside my jacket, with a persistent direction.
Starting from the neck
moving on the surface of my skin
diving under, slowly towards the core.
Chills running and playing, moving my body like an instrument

I am part of a composition.
The garden time, sensed first slow then fast, and rhythms.
Nothing happening – everything happening.
Sense of metamorphose, sounding
then sounds between the sounds open up
forms and rhythms become visible to ears.

I can hear my father digging a hole to already stiff ground, organizing a living space for a new berry bush
Eyes open, I can see the chemistry of the film traveling on its surface, forced from its place by my saliva – that digestive agent.
This might be a painting then
But it will remain mostly invisible. Sometimes taking weeks, or months, until the second exposure – the time of the scanner. The slowly moving light sculpting this vulnerable image with its own ways – simultaneously destroying and bringing alive and visible the result of the dialogue in garden.

Then a closer readings on László Moholy-Nagy. He was experimenting and researching in late 1922, using fluids like water on his photo paper which would result in abstract pictures he called photograms. Couple of years later he´d create a theoretical base: “New Vision”, stating that light ought to be handled like the colour in painting and sound in music. To him too, the medium seem to have been more of a tool for meaningful interactions with the world, and not an end.