Story of Ilkka Mikael Uimonen as an artist who uses photography as his medium.
I have practised photography since the early 1990s. My approach is to confront physical realism as a 3-dimensional theatre-like experience to produce a 2-dimensional surface as a theatre that includes my own personal history-based appearance and reason-based presence as an artist. My photographic process is to confront the subject matter as avoiding wordly descriptions that are illustrational. I work in multiple stages as to advance in my own understanding that develops in the different faces of productions working toward final descriptions that are based on words as a description of the final selection of individually selected visual attempts for being form-based as complete and therefore existing.
As my career developed, I forged my own style and interpretation of what my artistic approach should be. I pursue a visual engagement with the world in a unique way based on my life experience as a confrontational approach that is fully connected to visual theatres without the mandate of documentary photography or Photojournalism. My capacity to both question and unravel psychology and emotions in the images is singular.
I have departed from the classic representations of the moment to engage in a visual dialogue with the momentous in a thoroughly original manner, one in which the art I make takes the viewer on an illuminating experience as an audience that feverishly echoes a sense of place and meaning in multiple ways.
I use the word resistance as a production description to avoid the words “picture of” as based on understanding that every final piece is regardless of a picture. In my opinion, the words come as the last result so as to provide pure visual surfaces that do not picture the subjects instead I use the word existing as to describe photographs own existence as complete and free in the sense of true connection to the photographed surface.
My usage of the term, realism is based on the pursuit of the historical fact-driven image in theatres that appear as the 3-dimensional with the physical surface to be registered thereafter 2-dimensional as final surfaces reflecting the existence of me as a maker as well as the subject that I make into permanent stagnation as a continuity to reflect any given pieces as existence that is new in the theatres of contemporary history as an art.
I distance the final take images as the 2-dimensional surface that no longer suggests the 3-dimensionality but has got the qualities of visual suspense based acceptance as an object or a picture that exist on its own merits again in 3-dimensional space of an exhibition, gallery walls or as a book object.
This approach is different from an artist who only works in a studio environment where the artist does works as contemporary art as their own existence based developments as accepted in the world of contemporary art and its 3-dimensionality as in.
Further, more I prefer to work, in photographic layers, in order to see the progression of visual registration of any given subject. I often copy my own work so therefore I establish a new surface that will detach my subjects from early edits as mere registrations of reality without individual piece based visual existence. By doing this I take my images out of the original theatres to make them detached so as to establish a surface that can be described in the wordly description in understanding that reflects the word, contemporary art.
It is in this creative environment as a process of the image display in a theatre of existence including my own as it cumulates and what I use as a base for the execution of decisions in my future works as photographs.