“Only when art is fragmented, discontinuous and incomplete can we know about that vacant eternity that excludes objects and determines meanings”
“What the artist seeks is coherence and order – not truth, correct statements, or proofs.
He seeks the fiction that reality will sooner or later imitate.”
Robert Smithson, A Museum of Language in the Vicinity of Art (1968)
As a visual artist I am interested in the stage where the noise caused by an artwork in its surroundings becomes understanding, in what happens when the media used by the artist in his work disappear, and in what ultimately remains. What thus is the essential function of the form of an artwork and how are these works read?
We artists also deal with structures that have gained their specific forms over long periods. This naturally poses certain conditions, while on the other hand there can certainly be pressure to dismantle models of thought according to which a house must first be built in order to arrange something or for something to take place. It is, however, very difficult to erect a buildings where things are really happening. It seems rather that the opposite is true.
The visual artist Petri Kaverma is unbiased in the choice of media for his work, which can be sculptures or photographs, installations compiled of ready-mades or found objects. Aiming to create a dialogue between the works and their physical and social setting, he has made several works for public spaces. Kaverma has taught in several art schools as well as in the Finnish Academy of Fine Arts; he has curated exhibitions and organised visual art and environmental art projects both in Finland and abroad. At the moment he works as a postdoctoral researcher at the University of the Arts Helsinki in the Academy of Fine Arts