2.6. — 25.6.2023

Inka Bell: SHIFT

Marianne Siri:
Least Concern

  • Inka Bell: Shift 17 (2023), paper, metal, 14 x 26 x 75 cm. Photo: Paavo Lehtonen.

  • Inka Bell: Shift (2023). Photo: Anna Autio.

  • Inka Bell: Shift 15 (2023), paper, metal frame, 14 x 30 x 4 cm. Photo: Anna Autio.

  • Inka Bell: Shift (2023). Photo: Anna Autio.

  • Inka Bell: Shift (2023). Photo: Anna Autio.

  • Marianne Siri: Marie (2021), painted plaster and ceramics, 95 cm. Photo: Jussi Huotari.

  • Marianne Siri: Madonna ja pentu (2016), painted plaster, spray, textile, embellishments, fox scull, 128 cm. Photo: Anna Autio.

  • Marianne Siri: Pyhempi toistaan (2022), painted ceramics,  69 cm. Photo: Anna Autio.


The sense of a space arises from encounters with architecture, light, sound, materials, and the surface textures, which can be felt and observed by different senses. It is an intimate and bodily experience that is special in each space. Many of these sensory experiences may remain on an unconscious level, although atmospheric, mood-sensing visualization happens faster than detailed, conscious observation.

The starting point of Inka Bell‘s exhibition Shift is the movement, layers of time, and subtle changes felt by the artist at Forum Box. While working, these observations were transformed into new sensations inspired by the process. The whole, which started from concrete spatial elements, aims for ever wider unconscious levels through the works.

The exhibition consists of paper sculptures in which change and time appear as movement and rhythmicity between materials, colors, light, shapes, and weight: unique and clearly defined, back and forth and flickering or almost imperceptible. In the new exhibition, the repeated sharp and straight angles recurrent in Bell’s works, which are often limited to a rectangular shape, occasionally soften towards rounder and smoothier shapes. The apparent lightness of the paper is counterbalanced by the weight of the metal frames that limit the movement.

For the viewer, perceiving these events requires physical participation and changing one’s location. You have to reach, crouch, lean and twist around the works. Only the sense of movement makes the changes visible.

Inka Bell’s works escape verbalization or external meanings. What is essential instead are the sensory spaces they create between the viewer, the work, place and time.

Riikka Thitz, curator

MARIANNE SIRI: Least Concern

Least-concern species is a species that has been categorized by the International Union for Conservation of Nature (IUCN) as evaluated as not being a focus of species conservation because the specific species is still plentiful in the wild. Humans are classified into this category as being one of the most common and widespread mammals. The exhibition consists mainly of sculptures of women made of plaster and ceramic. There are also few animal species and one boy present. The artworks display subjects such as the diversity of nature, holiness and social media. The focus is on the human-centered attitude that sees that nature exists only for humans. 

Marie named sculpture diverges from other sculptures by its colorful appearance. During the covid pandemia I stepped out of my comfort zone and started to learn oil painting (layered technique) with the help of my colleague Maria Laine. Earlier  I have concentrated  mainly on form and painted my sculptures with different shades of white. 

Marie describes the depletion of biodiversity. The work is inspired by the Red Book of IUCN and the hairstyles of French aristocracy in 18th century.  The plants and animals found in Marie’s hair and body are categorized as threatened species with few exceptions. In the highest place on the top of Marie’s haircut the Mandarin duck is nesting. It is the true beauty of the bird world and an abundant species just like humans. Critically endangered (CR) European Eel is wrapped around Marie. In Marie’s haircut can be found endangered flower species of Finnish nature such as Spring Cinquefoil, Eastern Pasque Flower and Narrow-leaved Helleborine as well as common wild and carden flowers and hybrid flowers created by the artist. 

In recent years I have had a lack of  concentration on sculpting from time to time and the newest art work of the exhibition is unfinished. The work is portraying a boy playing Nintendo. The boy is a novice monk of the Buddhist monastery and he has gained some freetime from the routines of the monastery. The work deals with the balance of work and play. The meaning of the work will widen as the play mate of the novice monk will be manufactured and the work will change into an installation. But now the boy is playing alone. I teach ceramic and sculpting to adults and children and it inevitably reduces my own artistic work. Teaching art is work for me, but for students it is play. I will try to learn the easiness and joy of doing art from my students. That is my next goal besides learning to use colors in my sculptures.