Letters to Pete Jockey was printed by the artist in Glasgow 2014.

The texts were first published on the sidetrack blog (http://sidetrackblog.wordpress.
com) during 2013 - 2014. A selection of the texts available on the blog has been re-
vised and edited for this publication.

When you talk to other people they eventually loose interest but that when you talk
to yourself people want to listen in.
(Adam Phillips, On Not Getting It).

Letters to Pete Jockey
artist's book
A2 folded into A5, first edition of 100 numbered copies + 5ap



This Is As Close To Painting As I Will Ever Get
pigment print, frame
62 x 90cm, ed. 5+2ap



The Singing Neighbour / 2009-2011

series of 49 photographs in two editions, 41cm x 50cm (ed. 10+2ap), digital c-print on aluminium, frame, 82cm x 100cm (ed.6+2ap), digital c-print on aluminium, frame

First, there was a park. The park stood for everything home didn't. Joy, celebration, play, happiness, friends, chirping, laughing, people, people, more people, shashlik, kvas, pure fun. People of all ages came to the park, full of excitement, fresh and clean out of the sauna, wearing their best skirts and jackets. Men tried not to overdo with drinking, while women gathered in small groups and spoke about children and criticised some girl's unusually colourful or unusually short dresses. The park was everything home and daily work wasn't.

Later, a song stage was built in the park. Every proper kolkhoz should have it's own song stage, it was a matter of pride. After the big song stage, small village stages were built all around the country, one more extravagant than the other. This took the park to a whole new level, now the party didn't need to come to an end when it started to rain, since musicians were playing under the roof, with their equipment dry. People could dance until morning, without worrying about getting their feet covered in mud. The important thing was to be close, skin to skin, with another person, in the darkening night. And the band was playing and playing. The more stages there were, the more people could sing and dance. A song stage is never just about the stage.

Extract from the essay "Park, Song and Stage" written by Kätlin Kaldmaa.


From Zero to a Hundred in 3 Minutes / 2010


triptych, 83cm x 100cm, pigment print on aluminium, pigment marker, edition of 1

Translation of the texts:

1. The roof is leaking
and the birds are screaming

2. Cars are driving and a cat is in mind. Behind there's a peach tree
cold and wet
a little bit warmer, an old man
smiled. Coryza and no paper.
The clock is ticking
To be something, I don't know why and I don't know what.

3. The mittens are yellow and warm. Wind and an old church
Mister Religion is chirping in the ear and the noise won't stop unless I sing
the white has cleaved and it won't heal
I don't know why
The metal is hard and cold
my eyes are running and I can't see to write and a car is running by and I don't believe
A small child with father, bored, but the day is young but cold
Still green but soon it will end and the white comes healed
Gray. Fingers. Ring. Blue are the stars in eyes.
The paper runs out
soon, I still need to


Studio Landscapes and Battlefields
Galleria Uusi Kipinä, Lahti

June 2017




Studio Landscapes and Battlefields
Galleria Satamankulma Kuopio

September 2016



Graduate Degree Show
McLellan Galleries, Glasgow, UK

September 2014




Young Nordic Photography ‘12
Hasselblad Centre, Gothenburg, SWE

June - August 2012




The Singing  Neighbour
Gallery Vanha Kappalaisentalo, Porvoo, FIN

February 2012




EMMA Prize 2010
Espoo Museum of Modern Art, Espoo, FIN

June - August 2010








I have recently found interest in the landscape and trees and my work revolves
around turning these into something that is both very generic and specific at the
same time. I have been inspired by the medieval battlefields in the Scottish land-
scape, dating to the 14th century and I am interested in finding the neutral ground,
where the past 700 years become invisible and specific details impossible to point
out. By collecting material from the battlefields and constructing my own woods and
landscapes in the studio, I am diluting the contrast between inside and outside, i.e
the meaning and the form, and the landscape turns into being everything that exists
in front of my eyes. I am interested in the aesthetics of the landscape of everyday
objects and the relations that sprouts when constructed sceneries are combined with
the “real thing”.

My current practice also revolves around the artist’s studio and how the birthplace
of artwork reflects on and influences the artwork itself. In my landscape work, I am
focusing on the originality of the landscape by constructing sceneries out of every-
day objects that can be found lying around in the studio. The images remain truthful
to their original surrounding, they are openly exposing the context of the studio. My
landscapes tries to capture the truthfulness of the term “landscape” - ‘all the visible
features of an area of land, often considered in terms of their aesthetic appeal’.

Battles, no. 1-6
pigment print, frame
60 x 45cm, ed. 5+2ap



Stilled Lives, no. 1-6
pigment print, frame
60 x 45cm, ed. 5+2ap



Loudoun Hill in My Hands
pigment print, frame
50 x 63cm, ed. 5+2ap



It Can Only Be Inherited
pigment print, frame
22 x 17cm, ed. 5+2ap



Pink Tree, Falkirk
pigment print, frame
70 x 100cm, ed. 3+2ap



Studio Landscapes, no. 1-3
pigment print, frame
100 x 67cm, ed. 3+2ap