In ancient Mayan cosmology, time was equated to life itself and considered the beginning of everything. Mayans conceptualised time and space by observing the movement of celestial bodies. In relation to this, architectural structures, such as monumental pyramid-shaped temples, were regarded as important observational instruments. In a similar manner Savolainen deploys the architecture of the gallery space of Studio17 in order to trace the movement of light.
Sheets of white paper and thin threads are laid out to mark the position, colour, and intensity of light. The empty papers fill with natural light and are coloured by it, while the threads roughly demarcate areas of light and shadow. They isolate light from their surroundings – like a camera shutter that sequences moments in time – and make it acquire a material form; for a brief moment that which is usually invisible and translucent becomes tangible.
The exhibition combines approaches to light and photography in an essay-like fashion. It is composed of photographs and site-specific installation. Together these elements create a digressive narrative that aims to challenging the singular perspective typically associated with photography.
Photographs, text and installations with brass rods and sand
Studio 17, Stavanger, Norway 2017