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Following take is my study of cinema as a surface as a time slot in the historical Suomi, Finland’s representation on the movie stage in the form of actors and the movie theatre the audiences. 
The years of exposure in between are to share the stage in dimensions of the filmed parts as acted and the audience as what they have collectively experienced as history that can be spoken about in day to day life.
This is a study of 3-dimensionality as staged in parts that are acceptable to understand within the context of the specific story told in history as taken into account the word audience and actors as well as the word reality so to continue the togetherness as one instead of separate experiences that are lonely individualism in a solo act without the safety net of nationality-based culture in its Contemporary Existential Realism in this case recorded by me as the audience as well for my possible audience as in the form of exposure that then will make my work as objects including an online view on the computer that does the dimensionality as multi-layered in exposure as in the theatre at home and work or telephone handset.
Part of the dimensionality as multi-layered I mean the time capsule type messaging from the 1930s to 1960s as for that period of Finland history to today’s historical talk sessions in the segment of popular culture in a fashion of a block of conversations and other shared involvement as a national act in and outside the theatre and living rooms for the part that is delivered by the television equipment.
In my case, I include the medium of the internet to exposure of my part in as 3-dimensionality in a theatre of viewing as a computer screen and hopefully understood that the historical part that I am referring to lives in multiple governments since the origin and my reasons to visit multiple locations as to continue the pursuit of my reasons to overlap with another participant’s so as not so lonely that can not be shared as I have done on my web pages.
The context of this work stays within surfaces without messages other than the self-evidence of its existence as a visual record that will form a new in my contexts as a selected take based on my self-investigative reasons to deliver this new edit from the history of Finland as in my self-acted performance of delivery of decisions that has produced the study and the takes based as said on the content of self-investigation for my reasons as well the projected truthful visuals in the final selection to exposure the surface in a new context as a visual truth with no messages embedded that poetizes in a soft manoeuvre of romanticism instead self-directed poignancy as not romantic that sips in easily when dealing with the word history that in this case is the history of Suomi Finland as in the previous century.

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