We are here to turn up the heat in the Tampere art scene, making tomorrow’s forecast HOT.

TAMK’s class of 2014 from the fine art path is now in their final year and have put together a degree show - a presentation of everyone’s thesis works. It will be held in Himmelblau gallery from the 19th of April until the 9th of May.

It will feature the works of Veera Nelimarkka, Alexandra Mitiku, Konsta Koivisto, Julia Matinniemi, Isa Hedez, Lavinia Nuvola, Anniina Puiras, Juuso Kuivila, Nicolo Arnoldi, Riina Haapakallio, Khalid Imran and Mikael Seidler.

The theme of each work is individualistically unique. Our topics range from endangered species to cultural challenges; our techniques from paintings to virtual reality; our moods from heavy to light; and our tones from melancholic to ironic.

The opening will be on the 19th of April in Himmelblau, (2nd floor) a widely known gallery located in the Finlayson area.

Lämpövaroitus! Tampereen taideskene on kääntymässä astetta kuumemmaksi...

Tampereen Ammattikorkeakoulun ensimmäinen Fine Art -opiskelijoiden vuosikurssi on nyt valmistumassa ja ylpeänä esittää lopputyönäyttelyn Hot Futures. Näyttely on nähtävissä Grafiikanpaja Himmelblaussa, 19.4.-9.5.2018. Teokset käsittelevät aiheita aina kulttuurillisista ilmiöistä uhanalaisiin eläinlajeihin, ja tekniikat teoksissa vaihtelevat maalauksesta virtuaalisiin todellisuuksiin. Teosten tunnelmat varioivat raskaista keveihin ja sävyt melankolisista ironisiin.

Avajaiset ovat 19.4.2018 klo 17:00 Grafiikanpaja Himmelblaussa (2.kerros), joka sijaitsee Finalysonin vanhalla tehdasalueella.

Katsoa saa, ja osaan myös koskea - elleivät pala sormet!

1991, Alajärvi


As an artist, I am interested in emotions and feelings that can't be named, light, secrets, and the human psyche. I am always trying to form pictures of something that cannot discussed; something that everyone can recognize, though they might not have even thought about it. "What can be said at all can be said clearly, and what we cannot talk about we must pass over in silence", Wittgenstein said. I disagree. What cannot be talked about, shouldn’t be left in silence. So when words fail, one must find another means of communication, and for this, art is a perfect tool.


My work, Danse Macabre, an installation in the form of an old bedroom, which explores the fear of dying. It’s an attempt to organize and concretize the abstract, the vague and the intangible. Through video, I am engaging in a surreal conversation with myself as a child, using my stuffed animal as a medium. I am also taking a brief visit to a fearless scenario and studying it’s atmosphere.

The fearless scenario is based on a few hours I experienced in the summer of 2016: I was in Sofia, in the backseat of an expensive car drove by some show-off Turkish doctoral student I had met earlier that day. He drove like a maniac, and I had no seat-belts. It was night-time, everyone had stepped outside, the city looked so beautiful and I laughed and shouted, because for the first time in my life, wasn’t afraid of dying. Eventually, the feeling wore off, but this experience was unforgettable. I felt like I was truly alive, for the first time, and I wanted to try to stage the experience and juxtapose it next to the fear.

As a soundtrack for the video, I chose the song “Sydämeni laulu”, a chilling lullaby about death, born during time in which infant mortality was common.

With video being the main media in my installation, I have also approached the subject with painting, drawing, sculpture and photography. I explored the fear of dying from many perspectives, studied what had been done earlier and used the information in my advance, hiding little intertextual hints for the spectator to find and explore.

1989, Vaasa


I mainly work with photo- and videography and music composition, but I enjoy picking up new tools and techniques. It opens slightly different doors of creativity, and keeps life interesting. My themes are often connected to the limitations of humanity on a subjective level, and my works often describe the everyday world in a wistful, romantic manner.


Deep in the Cold (working title) is an extension to my 2016 photobook of the same name. It’s an interactive video installation that blends participative performance, digital sculpture, interactive objects and a digital world to create a sort of ambience; a state of being.

1994, Tampere


My aesthetic is a salty beach in early August at 4.30 in the afternoon. Bare skin, a sweet melancholy, soft light and moments that can be found in fractions of slow movements. I love the winding lines and unorganized elements inside a calm frame and the other way around. Recurring themes in my works are the little absurdities in normality, friendship, intimacy, seconds that feel like complete freedom and the beauty in vulnerability.

The mediums that I use are photography, painting, text and video. I approach a work with each medium from a different angle, but for me all of them are as equally important. All works of mine support each other, visually or thematically, and create a world of their own.

I have always felt the most inspired in the summertime. In winter I enjoy painting images that depict warm and colorful places, and most of my photo and video works have been captured on summery days. I consider my approach to creating very instinctive. I paint or capture what I feel drawn to, and the storyline is born in the progress of the making. I enjoy capturing small fragments of a scenario, and creating an entirely new storyline with that one small piece of a bigger picture.


My work is driven by a fascination for the sensitivities and complexities of human communication. There is a learned system in how we show and read inner feelings. Yet we still create our own unique way of understanding others, based on our own experiences. Public spaces are made up of private lives and the other way around, and I am interested in the relationship between publicity and privacy in both shared and private spaces.

In our era of reality television and social media that allows and even encourages stalking, it is easy to create a compulsive interest in the activities of others. We expose ourselves to judgement and admiration all the time when we show ourselves in public spaces, both in virtual and physical reality. The clips in my video work are forced by a curiosity towards the lives and emotions of strangers. The idea that someone random would be that interested in you is fascinating and scary at the same time: who would we be if we would hear everything that other people have said about us or what they think about us?

This work is also my attempt to find a connection between myself and the strangers and landscapes around me, and answers to why I have been curious about a certain person in a certain moment. The installation provokes a sensibility towards questions about privacy, publicity, sharing, human relationships, loving and sensitivity in all its various forms. It delves into the differences that might exist between people that represent a different culture, background or gender, when it comes to acting in a space. The installation shows itself differently to every viewer based on their own identity and personal ways of reading the world and others.

1989, Milano


I am literally writing these words in a fine-dining restaurant kitchen between hot pans, boiling pots and fires. This is my current way of expression. Art through cuisine. Food as visual art.

My expression has evolved according to my life interests and sources of inspiration; My roots of punk rock, street art, traditional tattoos, travel and food never being left behind.

Throughout the years, the main medium that supports my creations: Photography. My style is defined by moments, a hint of abstraction experimenting apertures, consequences and minimalism. This led me to paint with raw materials, studying expressive painting and professional culinary photography.


TITLE : “Taste.
Chapter I: Winter”

I wanted to paint. I wanted to cook. I wanted to photograph.
A vision on my “passioni”.
Art, cuisine and photography.

Here is served my tribute to nordic cuisine.
My own interpretation of Finnish ingredients with a graphic twist, a minimal touch and post-expressionist sprinkle.

This Artwork is a taste of my final thesis project book.
Food and colours create shapes and emotions, all portrayed via photography.
The lähiruoka through Art.

Can food be Art?

1995, San José, Costa Rica


I come from Latin America, a place in the warmth surrounded by the sea and mountains. Five years ago I moved to the land of a thousand lakes in order to explore, and I found myself in the process. In my photographs I include topics like immigration, cultural behaviours and human emotions. I want to inspect the complexity of being human in this modern society, focusing on multicultural identity examined through photography.

As an artist I feel the obligation to contribute in order to shorten the cultural gaps that divide us as humans. I believe there is a thin line between the layers we see in the world. These are the principles that drive me to continue my work, therefore I research, photograph, and create.


For my thesis work I direct my attention towards mixed nationality and multicultural individuals and how they perceive the concept of identity. I wish to understand the definition of identity better myself and to ultimately find the meaning of belonging.

1985, Dhaka, Bangladesh


Deciding to be an artist had been so far a “reckless” decision for me as I am coming from a working class family from a third world country. But at the same time this impossible challenge is also the fuel that is constantly feeding me in my art practice and my approach towards art.

I began my professional studies in engineering. No matter how much I liked engineering and technical studies, I couldn’t help accepting the fact that my original interests lays elsewhere. Art has always been the one important media that moved me the most. Growing up in a conservative, suppressed society; art has always been the strongest tool for me to question, to provoke, to change, to express and to inspire. World politics, society or social issues and human psychology are my primary inspiration to make art.

I am very much interested of traditional form of art such as drawing or painting. But I like it the most when it becomes physical and experimental. My paintings and drawings mostly deal with the similar approach.

When I work with a body of artwork, in most cases the work deals with personal memories, experiences, emotions regarding that particular topic and the imageries of how I see the world. My multicultural back backgrounds and my almost obsessive observant behavior are often reflected in my works. For me, the idea and the context of the artwork are more vital than a skillful presentation.

Art is empowering. Art has a massive power on people's life. It should be more involving and engaging people. I think art should not only be shown in the gallery, or just to be collected, art should be used.

When art is focused mostly for the elite class of the society, I think art loses its own point. Perhaps that is why the concept of art and welfare inspires me a lot. Hence most of my art practice has been around this concept in recent years.


Normally I am interested of trying out new tools and methods of different art forms. I like to experiment. However, I have been mostly working with media art in terms of video and photography. I have also been doing community art where I have combined media art and drama with an experimental approach with my colleagues. I have been doing mostly video work not only because I like it but I also think it is a versatile tool.

1989, Jyväskylä


I am a technique loving artist. I appreciate realism, there is just something magical about it! When I saw a hyper-realistic painting for the first time, even though it was only a picture of Gottfried Helnweins painting, I was amazed! It felt like Helnwein had some kind of superpower. Ever since then I’ve wanted to master that skill as well.

I am creating my own approach to realistic painting by combining abstract pouring technique and hyperrealism. This combination of the accuracy of realism and the randomness of abstract makes painting interesting and rewarding to me. With the same painting I can challenge myself in the technical part, while also doing something where you can just go with the flow.

I studied journalism before arts. I wanted to investigate things and write. The fast pace that comes with the news world, at least in the ages of digitalization, isn’t for me but writing is still something I like to do. I want to connect painting to this aspect of my life. With painting, I can take my time and work with the subject at my own pace. Inspired by working methods of journalism such as interviewing experts and researchers my works will be given an interesting twist. These tools help me step out of my own angle and explore the issues in a wider sense. Painting is also quite lonely work, so this way I can make it more social for myself!



Mythical animals have surprising connections to real animals.

Unicorns are nowadays all over pop culture, but in the Middle Ages they were a real deal. This creature is mentioned in the bible multiple times and its horn was sold (and it was expensive, too) for its magical powers. It could purify any liquids and cure diseases. Of course, this creature never existed, so the horns that were sold came from other animals like narwhals.

In these days rhinos are on the verge of extinction because of myths very similar to unicorn horns. For example rhino horns are sold for its powers to cure cancer and hangover. When will we learn?

Other extremely endangered specie can be found in New Zealand. The kakapo is the biggest parrot in the world. This wonderful creature cannot fly, so when humans arrived to the Islands of New Zealand where they lived, the population quickly started to shrink. The predators humans brought with them (cats, ferrets, rats) were new for the kakapo, and its defence mechanism of freezing and blending to its environment did not work with the new predators. After realizing the threat of extinction, the remaining kakapos were moved to 3 islands without these predators. Now the population with 154 birds, that are all named, is hoped to rise from the ashes like a phoenix. Let's hope the myth will become true in this case.

1992, Oulu


I use art to digest information and express my perceptions. There is a calm that comes with finding a deeper understanding of an event, an environment, the self; as if you can stop scratching at the surface in an aimless fashion.

A constant theme in my works would be the subliminal reality that is often overlooked. The juxtapositions I find, give my work an ironic tone. I think it’s important to give visibility and to appreciate the abstract aspects of this world we experience.

I dabble in different methods, but mostly enjoy painting and moving image. My art communicates like poetry, where meaning is attached to details, even as small as a comma.


‘If these walls could talk’, ‘what/who’

‘If these walls could talk’ is an installation, acting as multifaceted metaphor. It creates a space to be overwhelmed by the dynamics between woman and society, while also giving validation for expressions that are swallowed back into silence. It is what a collection of inward sneezes would look like, along with the sign: ‘storage is full’.

The relationship between the face and the hands is conditioned to how compliant she is. Hands are a fickle tool as they have the potential to be both gentle and brutal. But intention can be separate from action. Although the movements fluctuate from displays of affection to aggression, its stability lies within its position of power; a power that is perpetually being reinforced.

Being seen as a female by others often means your voice will be neglected, belittled or shut down. This results in the constant inner conflict: ‘to speak or not to speak’. It’s almost as if the female voice would be too loud if given a platform, so it is left unheard.

It parallels the painting series ‘who/what’ that criticizes the sexual objectification of women in media that leaves her humanity unseen. The pink side offers a sense of the grotesque aspect of these images. It depicts the subtle violence that twists her into unnatural angles, carves her body in photoshop, and pummels her into a flimsy mass. The face is not invited into these frames, which transforms her into anonymous flesh.

The silver side is a protest against its other half, exposing her with a different kind of anonymity; one that empowers rather than belittles.

1988, Milano/Helsinki


I have always been very interested in contemporary culture. I spent endless afternoons sitting in a cafe’ just watching people go by. What they eat, how they move, what do they throw away, and last but not least, what are they wearing are all choices that consciously or unconsciously define their own selves, they are symbolic elements which define the present-day world. I have always been fascinated by how Andy Warhol used details of contemporary society to comment on and sway society itself; by playing around with stereotypes and cultural peculiarities I want to create a parallel universe, one where fashion is affordable and no topic is too sensible to be examined with irony and playfulness. In a way I’m interested in profaning well-established contemporary issues by reversing and repealing their own intrinsic meaning, similarly to how Pipilotti Rist did in her piece Ever is Over All. Of course I am not adverse to performance; to make my magazine, VAGUE, credible, I have to take on the role of editor in chief; because an illusion only works if the creator believes in it himself. Like Colette Justine never goes out without her distinctive hats, I can never take off my VAGUE identity. If VAGUE is a brand, and I’m the only link in between fiction and reality, then I have to work as a pillar of this fictitious yet plausible make-believe game.


I come from Milano and I live in Finland, so, in a sense, VAGUE is the perfect intertwining of two significant elements from these cultures; I grew up in a city where luxury is the norm,and I live in a city where cheap garments are easily found, forgotten, lying around somewhere.

The only freebie commoners like me would get during Fashion Week (Milano is one of The Big Four fashion cities) were old Vogue magazines, occasionally handed by the side of the road by pretty models hardly balancing themselves on their 12cm stilettos. I was about 11, and I was SOLD! Sold to the heels, sold to the drinks on the beach, sold to the soirees at La Scala, and sold to the excruciatingly tiny portions of perfectly staged food. I admired above all the perfectionism, the care that Vogue put into everything that was to be showcased; nothing is ever good enough for Vogue, until it’s just pitch perfect. Vogue is not only a fashion magazine; Vogue is a lifestyle. It extends from fashion to travel and from interior décor to art.

The only issue for me, as for many in my generation, the infamous millennials, is that we’ll hardly see the economical security to actually enjoy that kind of lifestyle; but luckily, I live in Finland, and here there is abundance of used, unique garments which come at a very little price; and if we believe Iris Apfel, if really the process of finding the articles we’re going to wear is more fun than actually wearing them, then Finnish flea markets are just an endless style-themed treasure hunt! Flea markets allow you to have a properly original and unstandardised fashion persona.

That’s how VAGUE magazine was born. VAGUE loves fashion, only it refuses to enter the everlasting vicious circle the fashion field fell for. Living the VAGUE life means that the lack of money doesn’t impair your possibility of dressing well, eating well and attending cultural events. Every photoshoot and fashion spread has a hidden meaning in VAGUE. I don’t choose the garments because they’re pretty; I choose them because they are unique, and they can, in their own, happy and carefree way, tell sad stories, too.

1990, Oulu


As an artist I have always had fascination for people, the music and the fashion around me and the way it has changed me and my values during the years. In my childhood I remember wearing my mom’s shoes, walking around the kitchen and living room, listening Spice Girls and Moby from MTV (Music Television). That was my first exposure to that feeling of freedom being “whatever you want to be” that television, and later internet and social media, was teaching us. It was something totally new. I was mesmerized by the people and the culture around us. That feeling of “being whatever you want to be” has stayed in my art and my aesthetic way of interpreting these times we are living in. I don’t have any specific medium that i use. I like to use whatever I want, whenever I want. I like colours.


Recently I have been focusing on painting and portraying people from social media, especially from Instagram. During the weekdays I have found myself riffling Instagram and drinking coffee instead of painting my portraits. This gazing at people on social media has been my way to interact with my subjects.

The whole project has been a fascinating journey of investigating what people on Instagram represent. Instagram is an unique jungle filled with portraits of different characters.

“As long as there is humanity, portraiture in one form or another will continue to be a primary force in the visual arts. -Robin Gibson”

1991, Tennilä


Although I didn’t start off with much enthusiasm towards using moving image in my art, I soon had a change of heart as my knowledge and experience with this meidum grew. I became interested in documentary and on top of that, documenting other people learned that we all have our story to tell; it is never just another boring ordinary life. The world around us has its ups and downs but that’s what makes it and us so beautiful in the end. We take so much for granted that we often miss the importance of our everyday routine and surroundings.


My work is about my three little brothers and their normal life. It is important to point out, that this work has been done only by me, my camera and my brothers, whom I followed and filmed at the same time. There is no script or plan. Just these moments.

1993, Savannakhet / Pyhtää


With every work, I have always focused on the drama and music to an extent where most would say it is even over the top. I start with a blank canvas and an idea of a theme that is directed by a selection of music to guide my inspiration and then watch as the artworks reveals itself in front of me.


Title: How stigma changed my world

In 2016 I was diagnosed with bipolar disorder. My world changed as I watched the fallout. The world has a stigma towards mental illness and until you are on the other side you don't know what it feels like. I was getting better. I was able to resume normal life but the world around me felt different. I would catch myself staring into oblivion. The world seemed to be empty. People saw me as broken and distanced themselves from me. I wanted to create (i created) a short video to show what the world looks like every day as I look out the window.