“When I started school, I thought to become a painter, but fairly soon I realized it’s not the only way to be an artist. I often use shapes and items as such and enjoy what I find in the nature. I like things that feel pleasant and soft. I modify them, but not ad infinitum. I always say that I’m a visual artist, not a sculptor, because as a sculptor I’d be “lazy”. Moreover, I have no need to build or sculpt new forms.

I started my studies in the Turku School of Fine Arts, but I graduated from a university of applied sciences. The administrative change took place during my studies. Along the transition, some art-related subjects disappeared, like material science, drawing and techniques. They were replaced by many obligatory, not-so-useful courses. At school I started to feel that I don’t want to produce unnecessary objects into the world. My frustration led to using recycled materials. As I moved to Helsinki after graduation, I was overwhelmed by the amount of stuff floating around abandoned by people. I collected boards and frames from waste containers and thought it would be stupid to by new linen canvas when I could stretch an old sheet around an MDF board. Little by little I started to make collages of all the objects that I found.

I have to look for or buy some things, but most of my objects I run into by chance. I like objects that look like they’ve been used. Wear and tear become part of the story. I visited the Söderskär lighthouse, and its owner gave me a shoe they found while diving in the sea. I attached some feathers and bones found in the area to it. The shoe became part of the local artwork with a story and returned to its original donator.

I did one of my best exhibitions in the Enonkoski Museum of Local History, where I placed my own work among the old exhibits. It became a successful mix of knowledge and modern art. One of the works was a hand cast in sugar attached to a sugar cutter. Like always with interactive art and installations, presenting the work involves risks. In this case, my cousin’s kids cut out the fingers made of sugar.

I always finalize the work while putting it out for presentation. In that situation I’m sensitized, and my brain is working to combine things. When I was working on an exhibition at Vihreä makasiini in Lappeenranta, I found an old kicksled in a flea market in Helsinki. It cost two euros. On the way to Lappeenranta, I found a stone and put it on the seat of the sled. Against a black asphalt floor, I thought my work called “Trip” was very effective.

I was ten years old when I saw swans for the first time. It was a foggy morning, and I was walking along a path when three swans flew by very low. It was a revelation. The swans and their feathers are present in many of my works. The swan is such a wonderful bird; its shape is sculptural. I’ve collected whooper swan feathers for my work at a lake near my childhood home or when hitchhiking into boats on Lake Saimaa. Collecting is slow work, and feathers are not available every year. I’ve made a swan of rowan pearls that I carved myself. I was working in isolation on a small island. Otherwise I couldn’t have done it, I wouldn’t have had the strength to concentrate. I remember sitting on a wooden sofa with the first wooden pearl in my hand and realizing for the first time how much work it was going to be. I thought: this is where I need to go.

I’m not terribly interested in tools. If something fits my hand and works, I’ll use it. Wood is a fine material; I like its vivacity. When I was felling rowans for the swan sculpture, I apologized to every one of them and thanked them. I’m now working on a large wooden sculpture for which I’m using a tree trunk from my friend’s cottage. I’m going to show all of its ant holes. I want my works to be refined, but in a way that shows my handprint.

The best work is something people want to approach and touch.”

Paavo Halonen
Born in 1974 in Enonkoski. Studied in the Turku Academy of Fine Arts.

Works have been presented in various exhibitions, for example, at Kluuvi Gallery in Helsinki, Emma in Espoo and Gallery Vanha Kappalaisentalo in Old Porvoo. Also designs prints for Marimekko. For example, the Raakel and Juhanala prints have been designed by Halonen.

www.paavohalonen.com

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