Anna Reivilä – [↖] Bond #1 (2014); [↑] Bond #2 (2014); [↗] Bond #3 (2014); [+] Bond #5 (2015); [↙] Bond #8 (2014) ; [↘] Bond #13 (2106); [↓] Bond #21 (2016)

Artist Statement:

According to Japanese religious ceremonies, ropes and ties symbolize
the connections among people and the divine, as a mean to identify
sacred space and time.

Inspired by Nobuyoshi Araki’s images and their mixture of raw
violence and beauty, I study the relationship between man and nature by
referring to the Japanese bondage tradition. The Japanese word for
bondage, kinbaku, literally means “the beauty of tight binding”. It is a
delicate balance between being held together and being on the verge of
breaking.

I search spaces where nature’s elements combine to create interesting
natural tensions and continue this dialogue trough [sic] my interpretations
by extending, wrapping and pulling upon these indigenous forms. I create
a new sense of volume from the existing components.

Using ropes as lines is my form of drawing. The lines create
interactions, making connections between the elements—a reinterpretation
of the landscape. These three-dimensional drawings are physically
unstable—they exist only for the moment. By recording the process the
photograph becomes part of the piece.

Robert Smithson installed 12-inch-square mirrors to the site in his
project “Yucatan Mirror Displacements” 1969. The mirrors reflected and
refracted the surrounding environment and gave a new angle to see the
landscape. In a similar tradition of Smithson’s use of mirrors, my lines
show how shapes of the elements and the connections between them come
visible when something alien is added. I’m not only changing their
essence, but also my own point of view. Every space is different and I’m
interested how the volume of any given site can be stretched by the use
of several simple lines.