Keittiössä tapahtuu / Happening in the Kitchen. Akryyli mdf-levylle, 140cm x 200cm, 2008. 
Leikkaus metsässä / Operation in the Woods. Akryyli mdf-levylle, 120cm x 160cm, 2009. 
Puolustaudu / Defend Yourself. Akryyli mdf-levylle, 80cm x 60cm, 2009. 
Raati / Jury. Akryyli mdf-levylle, 120cm x 170cm, 2009. 
Suudelma I / KIss I. Akryyli mdf-levylle, 121cm x 101cm, 2009. 
Suudelma II / Kiss II. Akryyli mdf-levylle, 100cm x 150cm, 2009. 
Yleiskuva näyttelystä Omat Ihmiset. Tm galleria, Helsinki 2009. Yleiskuva näyttelystä Omat Ihmiset. Tm galleria, Helsinki 2009. Yleiskuva näyttelystä Omat Ihmiset. Tm galleria, Helsinki 2009. 
Yleiskuva näyttelystä Omat Ihmiset. Tm galleria, Helsinki 2009. 
Yleiskuva näyttelystä Omat Ihmiset. Tm galleria, Helsinki 2009.
TM GALLERY, HELSINKI
3.6. – 28.6.2009
TO THE PRESS
Do not consider the fact that pictures and imagined stories bring us satisfaction and stimulate us into thinking to be self-evident, but something to which you should devote careful interest.
– L. Wittgenstein
A conversation at a coffee shop years ago: I was explaining to a friend Spiderman's career choice problems and how they had affected me. The friend interrupted me saying: Spiderman doesn't exist, he is not real. I found it deeply shocking, the idea that some people don't have fictional people living in their heads, or worse, that they don't matter. Fortunately, there is Merete Mazzarella, who has written an entire book about socializing with novel characters from novels (Where One is Never Alone).
Instead of individual torsos, I have now made group scenes where people act together. It has been important to me that these people are not generated by external visual perception but by my mind, they come from "nowhere", I create and build them myself, illusory three-dimensional volumes in an illusory space.
These fictional picture people have been so full of themselves that they almost can't fit in the frames, and when they come into contact with each other, they push and fight for space - very concretely, physically existing.
Although I have often left out the heads to make the body and its events the most important thing in the picture, these people stare unflinchingly at the spectator and are aware of him. It's not only about their mutual contact on the other side of the pictural surface, but also about contact outside of it, either with me, the painter, or with the spectator.