Exhibition review Mari Sunta’s paintings have amazing sensitivity and ferocity – the afterimage may be haunted for a long time

In Mari Sunta’s reduced works, their sensuality, carnality and intensity speak for themselves.

Modern art

Mari Sunnah: Paintings 21.11. until the Galerie in Anhava (Fredrikinkatu 43). Open Tue – Fri 11–17, Sat – Sun 12–16.

Sawtoothed suits, flowing blood and submerged vulvia. Gentle eyes, warm hugs and breast arches.

Mari Sunnan (b. 1972) paintings face ferocity and sensitivity: Shades of hazy powder or bright yellow and scorching red. Shapes with gentle round or warning, angry angles.

In the simplified works, their sensuality, carnality, and intensity speak for themselves. The compositions are controlled, the expression sure and accurate. But while materiality and picturesqueness are at the center, something beyond them is also strongly present.

Human figures drawn on the canvas as if blown out of scratch or soon disappearing back into it. In the book Share (2020) the characters are close together in a way where the shapes of the faces and bodies are an equally interlocking composition. At the same time, the space of the painting appears to be very two-dimensional and, on the other hand, a floating and expanding space. Likewise, the merging tones glow like an endless sunrise, but the gazes of the characters create a sense of movement in the work.

Mari Sunna is an original, chameleon – like artist who manages to renew and surprise from one exhibition to another but also to retain his recognizable grip.

Elements of horror are also present in the works.– Sweet Dreams, 2021, oil on canvas.

Even within her most recent exhibition, Sunna moves sovereignly from one emotional state and register to another. In addition to the ethereal dream images that threaten peace and warmth, some of the works evoke unrest, even horror.

Sweet Dreams (2021) ripples despite its name. Smooth, dark color surfaces and both shapes of the face stop. The green delimiting the neck and face completes the whistling impression, so that some afterimage of the painting will haunt the mind for a longer time.

In Mari Sunta’s paintings, even when reduced, the face is very expressive or gaping. – Servant, 2020, oil on canvas.

Even between the performer and the non-performer, the mood of the works is extremely charged. Body and mind, matter and painting are like an exceptionally free and continuous movement, where they simultaneously both disintegrate and form new meanings.

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