b. 1960, Kuusamon Murtovaara
JYRKI POUSSU combines color statements and threedimensional
form in his work. Theresulting relationship
between color and form is fascinating, because the
shape itself can be changed, emphasized, or faded out by
color. Therefore, it can be said that Poussu breaks out of
the basic painting surface restrictions found of paintings,
by combining painting and sculpture in his works. His
works include autonomous spacial pieces and sculptural
and architectural reliefs composed of different materials
and their interaction with color.The resulting works
are often set apart in various “series”. In Poussu’s
work,abstract forms and textures become abstract
symbols, made from the interaction of naturaland
organic processes with manmade cultural signs produced
by the artist.
We are, as the viewer, used to interpreting symbols
in a set way. Jyrki Poussu gives symbols new meanings,
thereby freeing our imagination to interpret these
symbols in new and unexpected ways.
I have seen again and again that my works reflect my own
life experiences. In both the paintings and the sculptures, the
Past, or what has already Departed - my birth in northeastern
Finland, childhood in the countryside - and the
Present, or Continued - an urbanized lifestyle in the city
- these time sequences merge together in my works.
For the past few years, I have been using wood as the
starting-point or focus of my works. I have found a
unique relationship with wood - wood is warm, personal,
and very much a part of the Finnish character. It
is perhaps one of the most important materials I have
ever used. In wood, there are always present traces of
the past, and reminders of the future. We see in wood
not only the markings of history, but also the continuity of
life - the circle of life.
In Finland, wood sculpture is highly appreciated, for it
represents the values of the old traditions. Wood was
one of the original materials for sculpture in Finland. In
higher art circles, any discussion concerning wooden art
is taken very seriously. Wood is spiritually holy, an
icon, symbolizing something so pure that it would be
indecent to harm it in any way.
I have always wondered if it is right to place something
like wood in such a high and respected position. It is a
wonderful material, beautiful and fine to work with, but
in the final analysis, it is still just one of many materials.
In all of my works it is easy to see their volume, their
three-dimensional aspect. Because of this, I can not easily
single out my paintings, to say what they represent.
Paintings, sculptures, painted sculptures, and all forms
in between, what can one say about these separately?
In any case, when talking about my work, it is always a
question about three-dimensional forms.
When I am working, I am always conscious to approach
my works in a spatial way, because for me life is not an
illusion but is something one can touch and feel with
your hands. One of the essential dialogues in my work
is between space and mass. This interactive communic
ation bet wee n space and form is so impor t ant ,
that the installation of any of my works into an exhibition
space is of the utmost importance, albeit
The colours in my work show an urbanization of life.
It has always been my experience that colour is a tremendous
energy. The influence of colour in our lives
is more important than we could ever realize. From
everywhere and from all around, we receive information
, and colours, different colours, produce different
images for each of our imaginations. We live among
these colours, and these colours influence all of us.
I have been told that one of the remarkable parts of my
work is its kinetic energy. I have always been impressed
by the kinetic phenomena. The feeling to me is almost
mystical - a moment where something is just starting
to happen, a moment where something is beginning, or