Heini Aho 1979, Finland
Heini Aho (born 1979 in Turku) combines elements of sculpture, installation and the moving image into works addressing issues of space and perceptions of the environment. In her works, the analytical meets the intuitive, and the material meets the immaterial. Aho’s method is based on observing a concrete phenomenon and the law-like characteristics of the material. A subtly light-hearted tone typical of the artist is present in them; it may be a touch of humour, wonderment with an element of joie de vivre to it, or a surprising feeling of freedom before ordinary matters.
Heini Aho graduated from the Finnish Academy of Fine Arts in 2015, and the Turku Academy of Arts in 2003. In recent years, her work has been on show in solo exhibitions, such as Cure of All at the Turku Art Museum Studio, The Square Elephant at the Galeria Anhava in Helsinki, The Primary Force Behind an Everyday Experience at the Titanik Gallery in Turku, Playing with the Dragon at Forum Box in Helsinki and More Black at the Small Projects Gallery in Tromsö. She has also participated in various group exhibitions, including Fin Between at the Arena 1 Gallery in Santa Monica in Los Angeles, meta/data/morphosis at the Or Gallery in Berlin and The Hunters Group: Heart Side Up at Kunsthalle Helsinki.
In 2016, Aho was awarded the main prize of the William Thuring Foundation.
Heini is a member of the international Videokaffe artist collective.
Corner Is A Place Where Two Sides Meet
The starting point of the work was an ugly furniture from 80`s, which I thought was good for nothing. I happened to saw off the corner from it, and was amazed how beautiful it was.
In the installation “Corner Is A Place Where Two Sides Meet” the corners cut off from finnish furnitures are attached in square forms found in Örebro.
Exchanging the corners brings two different materials into dialogue; cheap and precious, new and old, vivid and colorless.
In the man-made square world, the corner is the beginning and end of a room. A right angled corner cut off from its attendant framework shows where walls meet a ceiling or a floor. A small corner thus removed from its context immediately becomes a miniature of a space, with walls and floors endlessly continuing and expanding from it.
A corner contains three parts of the same size and form that can be used to construct a recurring tessellation continuing in the manner of a mosaic. The shapes fit each other perfectly with no gaps or overlap. More important than the geometric image was the three-dimensional – and existing – corner, hidden and camouflaged within a square.