DEEP HEART – an Artist as a Material Lover

The characteristics of the selected materials and their process-like nature serve as a starting point for Aho´s work. She studies the significance and relationship of different materialities in the world. Processes related to materiality are in the center of interest, for example, different transformations or reactions of two different materials to each other. Aho describes herself as a material-sensitive artist, she produces part of her paints by herself (eg by making natural substances pigments), and her aim is to find for each material its natural shape. On the other hand, it is also interesting to challenge materials; place them in situations that run counter to their familiar state. In recent years, Aho´s artistic work has developed more and more into areas of the expanded field of painting, and the emphasis has shifted from the object on the wall to the corporeality and spatiality of the painting.

Despite of process-based nature of Aho´s work,  the place and time manifest the core point in Aho´s artistic work. At certain moments, for example during the exhibition, the process crystallizes and freezes, and appears to the viewer as a series of art works or as picturesque piles. Aho aims to highlight the renewed and vibrant nature of painting and explore how painting can create its own reality and perhaps sensitize the audience to experience their environment in a slightly new way.

CLEAR EYES – an Artist as a Freestyle Rapper

In Aho´s art making, it all entangles together. And not significantly in any particular matter, but for some reason so many things happens all the time, and Aho describes how she is “involved physically, emotionally and mentally into this curious soup. Sometimes I fly high, in sci-fi levels, and to such curves of thought that I can’t follow them by myself, while at another moment Everything is Totally Clear.”

For this reason, Aho outlines the process of painting, a painting as an object, and being a painter as a kind of condensation in a reality that is constantly in motion / change and in different relationships to elements near or far. The only possible rational angle of entry into making art is to accept indefiniteness, chaos, randomness, ignorance, and uncontrollability, and to look at all of this from the perspective of where it now ever happens to be. It is interesting to think of an artist as a complex, multi-layered and multi-time actor, where changes / transformations can take place in several different areas at the same time. Different changes may have their own, even clear logic and cause-and-effect relationships, but the overlapping of all the different processes often produces unpredictable and haphazard actions. Everything flows and drains through a certain cultural subject, through the artist, like as s(he) would exist as some kind of condensation of some kind of reality. “After all, it makes very little difference what we decide to do in each situation of our so-called free will; everything is much more complex, dependent, and already-predetermined by the environment in which we occur”, Aho proposes.