Zofia Kulik started to create monumental, black-and-white photographic compositions after 1987, which brought an end to her collaboration with Przemysław Kwiek as KwieKulik. At this time she started to produce self-portraits. They came as a manifestation of an awakening of identity as an artist. Along with this self-portrait justification came the ornament, which served as a way for Zofia Kulik to untangle her vision of history, politics, and art. She moved towards her avant-garde concept of building an archive – a revolutionary approach that tackles archiving as an essential artistic practice.

Insect pins, brass wire

61 x 47 cm

Jyrki Parantainen always seeks to further his conceptual approaches and working methods. His artistic practice combines the photographic medium with other genres of art, engendering crossover formats that include both two- and three-dimensional elements. When producing new works, the phase of conception and preparation is a fundamental part of the creative process, which Parantainen likens to that of writing a script for a film. However, chance plays a large role in his artistic process as well. The main themes of Parantainen’s work deal with the basics of being human: life and death, flesh and blood, love and hate, all with an undertone of absurdist humor.

Saguaros Surrounded by the Bloom, 2025

Archival pigment print, paint

55 x 42 cm  

Nanna Hänninen focuses on environmental issues affecting global communities, warning of a rapidly approaching future. In her newest series Painted Desert, she travels through Joshua Tree National Park,  Monument Valley, and Saguaro National Park in Arizona, deliberately choosing locations most affected by drought. Through her documentation of these natural surroundings, she reflects on our relationship with landscape and nature.

Farewell Transmission (2), 2025

Pigment print, mirror

75 x 58 cm

En plein air (Luminism), Spring 1, 2024

Archival pigment print

100 x 150 cm

Eeva Karhu uses the photographic process of layering one image upon another to visualize the passage of time. In the manner of the repeated subject studies of Impressionist painters, she takes a photo every day at the same point of her path, compiling these photographs from one month or season to create a unique image. Karhu continues this process throughout the year, creating her own visual calendar of changes in nature. Going beyond what is seen, she imbues her works with a vivid sense of movement, energy, and emotion.

Merops Apiaster 2, 2025

Pigment ink print

In her works, Sanna Kannisto explores the intersection between nature, science, and art. During numerous stays in South America, along with her recent work in Finland, she became a visual researcher, borrowing methodologies from the natural sciences, anthropological practices, and still-life painting traditions. As part of her artistic process, she stages portable "field studios" to photograph birds. By removing the subject from its original natural context, the viewer’s attention is directed towards its specific characteristics and movements.

L’étang qui se souvenait de tout 6, 2023
Pigment print
160 x 126 cm

Jorma Puranen is renowned for his works that explore the interplay between past and present. His practice spans ethnographic photography, historical portraiture, and landscape painting, often drawing inspiration from archives and museums. However, his approach to the archive is undisciplined - fragmentary rather than systematic. In Puranen’s work, the photograph becomes a space for reinterpreting a fluid past, where past and present converge. Reflection itself emerges as a central theme, and ultimately, Puranen seems to suggest that light is the only true reality to which the photograph has access.

Sky #35, 2021

Archival pigment print

183 x 140 cm

With subjects rooted in traditional landscape painting, Santeri Tuori approaches nature similarly to 19th century Impressionists, using photography as a medium. By observing nature's changes over seasons and years, Tuori encapsulates the passage of time in his photographs by layering one image upon another to create imaginary landscapes. He interweaves black-and-white and color images, enhancing certain areas while erasing others, lending the final works a graphic quality, akin to colored pencil drawings.

Baltz #20, 2025

193 x 147 cm

Archival pigment print, Diasec