The Biomorphic Forms of Irina Laaja.
‘ONE’ Series - Interview 7.
Exhibited in Round Lemon’s ‘Earth’, ‘Body’ and ‘ONE’ exhibitions, Laaja’s work toys with notions of both the body and the absurd. In this interview, we briefly re-visit her work ‘I wanted to be a monument but I guess I’m just a body’, whilst discovering more about her recent practice.
Can you give us a quick overview of your background?
I was born 1989 in Finland, but I grew up in north of Sweden.
My background is in Fashion Design which I started studying at the age of 17, and studied for 4 years followed by working with my own brand. In 2014 I took my Bachelors degree in Art History, and sometime around there, I began to transition into working more with art instead of Fashion Design. I wanted to discover what would happen if I, instead of creating for the body, started to use the body in my work.
I also have a Masters degree in Fine Arts from Umeå Academy of Fine Arts (2020).
Would you describe your practice as feminist?
I’m quite ambivalent towards this question, because a part of me wishes that there wouldn’t be the need to call it as such. I sometimes wish that I was just presented as an artist working with the body, and not a female artist who’s use of the female body automatically becomes a statement.
But yes, there is definitely a large feminist aspect to my work.
There is something very fascinating about your drawings; a sense of continuity accompanied by a strange form of humour. Can you talk about ‘Self-Portrait’ (2018) and ‘At least she had freshly painted nails’ (2020)?
I usually don’t talk much about the idea based content of specific drawings. What I can say in general about them, is that they are produced when I allow my hand to lead me in terms of shape and color without actively controlling too much. I allow myself to be governed by my subconscious, feeling and intuition.
Self Portrait (2018)
At least she had freshly painted nails (2020)
Your sculpture series ‘Positions’ (2021) as well as your ‘I wanted to be a monument but I guess I’m just a body’ are self-portraits that reflect your focus on the relationship between you and your body. Has the idea of deconstructing the human form been considered from the beginning when producing these works?
I think the deconstruction of the human form is always somewhat present in my work. I often return to specific body parts that I twist, turn, repeat, and distort to absurdity. Maybe its a way to try to make sense, or maybe to de-dramatise by dramatising.
‘There between butterfly and seated forward bend’ (2021)
‘Headstand’ (2021) From ‘Positions’ Series
In your solo show ‘[fe]male gaze’ in Berlin (2018), you displayed a handwriting text piece, possibly a manifesto. Could you tell us more about the meaning of it?
In the project ‘The [fe]male gaze’ I wanted to play a game with the gaze; to expose, challenge and in a way make fun of the male gaze vs the female object. The text was more of a collection of quick notes made in my sketchbook during the research period, rather than a manifesto, but collected into a poem dedicated to the gaze of the body.
(2018)
‘Showgirl’ (2018)
How important is the process of making to you? How does it determine the meaning of your work?
The trace of my hand and body in my work is very important for me, and I’m drawn to processes and materials that are otherwise more connected to handcraft or considered amateur. I think there’s a beauty there. I like slow, repetitive and/or almost obsessive working processes that bring me to a state that could be described as meditative. A sense of calm while on the verge of a nervous breakdown.
Do you have any current projects or shows that are you working on?
I’m taking part in an exhibition in May (2021) at Misschiefs Takeover in Stockholm, Sweden, with my work ‘I wanted to be a monument but I guess I’m just a body’. I’m currently also working on a series of new sculptures as a follow up to ‘Positions (2021)’, where I’m combining clay and textile materials.
What the best way for the other to connect with you?
Either on Instagram or emailing me.
