A story of me as Ilkka Mikael Uimonen an artist who uses photography and non-fiction films as my medium that I call Contemporary Existential Realism.
My process in photography is to confront the subject matter as avoiding wordly descriptions that are illustrational.
I work in multiple stages as to advance in my understanding that develops in the different faces of productions working toward finals that then are described individually as selected visual attempts for being complete and therefore existing as 3-dimensional objects including a computer monitor in case of internet show on my self-publishing on my internet site.
I call my process as Contemporary Existential Realism as to recognize the totality of multi-layered existence of myself with the subjects right as existence termed by descriptions of their own instead of mine. The year 2000 as Millenia for me means the right of indigenous faiths instead of Christianity as experienced globally.
I reserve a right to photograph my version of Contemporary Existential Realism that in which I participate in theatre play like stages where my subject carries their information as indigenous and my right to exercise the power of the camera as to capture slices of surface detail that I context in my liking as final art pieces as in my books, gallery and museum exhibitions.
I also offer part of my works for publication publishing with a requirement of my standards as to how to proceed with the pursuit of my pictures as an extension of my existence as self-illustration to a degree that I have my own rational and thoughts that dictate my reasons as what and when I choose to photograph and film as a proof of my existential bit with existing rights of my subjects to live on their own as their version of the projected existence as the multiple versions of word reality both individual and collective.
I use word existence since it is interwoven with my subjects as the participants in a continuing journey by entering always into a new. By citing that I do not participate as a bible since I have no right to denounce my subject’s right to live as based on their birth so that their concept of god that they belong survives.
It is for previously stated reasons that I am not an Atheist either since in the pursuit of the surface of existence I can not denounce the right of written concept that we call the god that exists in multiple forms as in multiple nations and their existence as a whole.
I exist in an experience of my photographic and film works instead of the bibble or Torah that I don’t read or quote. To say that I accept as the existence of the concept of god since it exists in the literature as a base that without, the world would be a cruel place. So to say in my opinion god exist in peoples and their day to day life as the belief that I have no right to denounce.
The identity of my subjects as a living human species within their given birth conditions is the reason why I am opposed of exportation of religion as I see it warlike act against individuals core existence of as sovereign that would include the sovereignty by the birth as sacred in multiple faiths as exist in the world.
By citing that I refer in all as appearing on as 3-dimensional multiple governments act as multiple nations and their involvement in different level acts as participants in legal rights of indigenous rights of multiple cultures that can be measured as economically explained as in my case participation on the side of non-religious advancement of non-religious goods.
As a field artist, I have positioned myself according to my historical internal mind developments as my reasons to confront content as surface that continues to evolve in different stages in 3-dimensional existence that is invisible without my participation as my continuity that I call Contemporary Existential Realism as my right to exercise the existence of myself and make an image of it.
In the studio as an artist, I work the final surfaces as printed for 3-dimensional space to establish images that can be seen as the history of subjects as living and to present individual pieces as a surface that communicates and inform of a reflection for the audiences own understanding of words Contemporary Existential Realism.
To finalize the part as my Contemporary Existential Realism in my art as to continue within the context of understanding by pleasing my own inner need to produce pictures of my subjects as I have decided to photograph with the rights of my subjects on my stage as in the practice of my medium contemporary art in today’s world as it is continuing to unfold within the understanding of global reality.
The global reality in my case is as to understand to be me as the only one who qualifies as myself with my equipment as a stage of my existence as a proof of my realism to celebrate the final result as objects that are as printed surfaces within the new 3-dimensionality as a proof of my existence that registers realism as reasoned by me myself.
Again, I use the word existence since as I am in photography and film making as producing new surfaces that can be described individually as real reflections of form and suggested content to pursue the finality of given conditions based understandings that I call my works as existing so as they are manufactured by me and thereafter to provide a new understanding as the audience can receive information as to their participation based existence.
I am a practitioner of a confrontational approach that puts an image in my cameras as connected to theatres of visuality seen on my viewfinder without the mandate of documentary photography or photojournalism that come with industrial standards as alternative motive based approaches that refer photography in professionalism as conditioned by the client’s standards as a reason to pursue photographically conditioned approach on to the subjects within wordly descriptions instead non-conditioned images that are free as composed in the theatres of realism within their terminology as described in my case only as of the last result in mind so in as understood only in the end of the process that I follow as my directions within using the word resisting as to resist alternative motives.
I use the word audience as meaning in multiple ways in the theatres of my staged approach as my involvement reflected co-existence in the photography where the subject’s participation is based on their information as for their reasons for being in given locations. I see my subjects as an audience as well since they evidence me as a photography practitioner within their information based existence. As the word an audience, I must use it also for my editing face as to how to confront the image surface as myself as an audience so as to learn more for my inner need. The last stage is my audience as in the books, gallery and museum exhibitions who exist as the last layer of gained information depending on varying understandings as based on the intelligence and education-based existence as receiving participants for final takes as Existential Realism.
I am extremely careful when using the word, create to denounce it as too simple for an intelligent approach where I demand myself to decrypt my inner process sliced in increments of understood including the description as titled as the words used to describe the final surfaces as individual pieces that exist together with the subjects as their image.
I call Contemporary Existential Realism as a human function based establishment of visuals as a manufactured by using camera and cameras capability to make photographs as based on my reasons and explanations for to support my existence birth year 1966 in Rovaniemi Finland that I can not say as I was created since I am a product of human bodily functions as from my parents who were birth 1930’s and therefore I question my birth year as well since I am a continuation of my family and our existence as living and therefore I establish and manufacture my works of art within the disabling of Contemporary Existential realism instead creationism.
Furthermore, as the existence of the word religion that lives in the minds of those who practice it and in my case, Christianity does not live as me but I live my photographs and non-fiction films as a record of my involvement as an existing practitioner of the finalized record as a surface that continues from subject to subject as me since I do not have any alternative motive.
I use the word, govern as my involvement in my process-based investigations where I denounce the word, create since it deals with the origin of our existence and therefore leaves non understood as descript where I would get disconnected as in my process and therefore I would not realize my participation in what I call Existential Realism so as a purely secular where human involvement is described as understood in multiple levels of understanding depending as the beginning points as and how to describe the essence without word create that denounces the word, intelligence as far as the visual surfaces go as existing for their right with the words as part of the process for the subjects to gain access into intelligent surfaces that as the last face must be given the appropriate wordings as to open and support new understandings without denouncing the subjets right to exist in any given theatres as my reason to show as in practice on my history as an artist using photography and non-fiction film as my medium.
I am a Feminist in my existence regarding the women’s role within the automated function as in childbirth as their connection to the word, continuity but the same time I am a secular as their connection to day to day records as in their involvement as equal to the men.
I am a supporter of independent governments with their laws that protect the life itself as a word, the continuation within the individuals right to act as religion within the rights of such practising within the inner bit of individuals as family units as to provide the children with the beginning as they see best.
Even if I am careful with the word to create, I use a word creative mindset as to have a small mental space where I can seek different options to describe my work with verbal descriptions of each development without practical rationality as a stop block that would stop me in my the word, resistance-based pursuit of the different visual solutions.
In my opinion, the important words come as the last result to provide visual surfaces as the subjects as decrypted.
Individual pieces communicate so they’re existing without devaluing the process as a part of the field of communications as in message delivery instead of photographs and short films based on the individuality of pure visual existence as a surface in Existential Realism.
The word, transcend is better as I decline the message making that belittles my involvement without self-justified acts of visual existence based recordings of pure visual presence based understanding as the only truth is as the pure records of my personally justified acts as a proof of my existence as the reality that I know that I am.
As an artist, I am avoiding word self-illustration and find that difficult since I got to justify my positions based on my own decision making as directions that are executable sequences in thought based necessities that I have to fulfil in my inner needs to be satisfied.
By including the word, myself I mean me as in multiple positions as based on different reasons to confront the subjects and thereafter the picture selections as for different stages. I also think my separate pieces as different versions of me, as they are defined separately and are self-supporting as objects. At the same time, there is only one of me who can be seen as multiple as in the reason-based directions that are defined as Contemporary Existential Realism.
Furthermore, I prefer to work, in photographic layers, to see the progression of visual registration of my relationship with any given subject. I often copy my 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 to establish a surface that can be described in the wordly description in understanding that reflects the word, contemporary art and my visuals in it.
As far as the content in my work I let it be as its own instead communicate it as messages, that I find too repressive in the terms of the whole potential of my photographic and moving picture approach. I understand that my subjects are chosen based on my inner need to contact visuals as a record of my existence based own interest as for what to emphasize in the decision making process as a selection of the subjects.
I don’t do what I call subject-based lecturing which I find miss leading as trying to justify my role that is already justified as based on my inner needs to establish provocative image surfaces for display for audiences to see and live by as accepted records of our existence as a whole.
Regarding my reasons to construct moving picture based non-fiction films is to coexist in the contemporary world with the content of movie, television, and internet that otherwise pollute my mental position that wants to confront content of existence based confrontation without fiction layers that would come in between me and the subjects.
In these films, I am fully in charge as a producer, cinema photographer, director and editor as myself so I perform the different steps in the film making conditioned by my imprint of a sequence of actions that start from the decision of subject selection.
When filming I simply establish myself in the locations by using my history as a platform to reason as my existence based and not documentarian need-based as a lectured or educational film telling to storify as an alternative to pure film theatre as an editable continuing image sequence as establishing a field that is real by its construction as constructed by me in Contemporary Existential Realism.
My version of the word non-fiction refers to myself and my reasons for me to be present to perform on the stage as based on my interest in my film making as an existing component with my own visual merits as a result of confrontation in film sense as a performance. I am approaching my films as true without the persuasion of the truth other than my existence based reasons to show up in different locations. For me to be live and perform on the stage as my life history based is existing and a base for non-disputed as non-fiction.
I confirm this to be a truth for me as to leave the subjects inner build truth to be on its own as content without conditions that I would feel as a prosecution layer that I would force on to them and their locations without giving a chance for them to exist in their historical truth based existence as in their historical theatres in different sizes as based on the scale measurable units of togetherness that can be named and filmed in recordings of me holding the camera that is a reason for me to call my self as non-fiction filmmaker as well as an artist.
This all, because I know that I am in filming location with my cameras as true records of me being there and making the films as sequenced slices on moving pictures that I then direct and edit.
I edit all of my content so I keep the surface as a true record of my involvement instead of using someone else’s skill and know-how that would come in between me and the subjects.
Sincerely, Ilkka Mikael Uimonen