Anssi Pulkkinen (b.1982) is an artist based in
Helsinki. He is currently engaged in doctoral research with University of the
Arts Helsinki’s Academy of Fine Arts. He holds an MFA in Sculpture from the
same institution.
In his artistic practice Pulkkinen creates architectural and site-specific interventions within interiors and outdoor, public space. He often employs materials typically used in construction industry, and quotidian parts of house infrastructure. Through these materials and objects, he relates to a broader set of narratives relating to the exhibition itself, which centre around the conditions of, and public behavior in, civic spaces.
Pulkkinen's work is grounded in observations of everyday environments, places and politically charged spaces: how we live in them, relate to them and imagine with them. The artistic gestures are often delicate operations that cautiously distort these observations, with humour. As simulations of actual objects in the world they transport the street and daily life into the gallery. These structural elements are often brought back to dysfunctional state, into a state of becoming.
As a visual language Pulkkinen uses travesty or mimicry, whereby the works disguise themselves as elements from a familiar environment; once inserted in a daily setting they literally multiply the view and the experience thereof. These elements seem to exceed or rupture the system of here and now, to exceed or rupture man’s organization of space and time.
In his artistic practice Pulkkinen creates architectural and site-specific interventions within interiors and outdoor, public space. He often employs materials typically used in construction industry, and quotidian parts of house infrastructure. Through these materials and objects, he relates to a broader set of narratives relating to the exhibition itself, which centre around the conditions of, and public behavior in, civic spaces.
Pulkkinen's work is grounded in observations of everyday environments, places and politically charged spaces: how we live in them, relate to them and imagine with them. The artistic gestures are often delicate operations that cautiously distort these observations, with humour. As simulations of actual objects in the world they transport the street and daily life into the gallery. These structural elements are often brought back to dysfunctional state, into a state of becoming.
As a visual language Pulkkinen uses travesty or mimicry, whereby the works disguise themselves as elements from a familiar environment; once inserted in a daily setting they literally multiply the view and the experience thereof. These elements seem to exceed or rupture the system of here and now, to exceed or rupture man’s organization of space and time.