Päiväläinen work is similar in emotion content to that of the British sculpture Andy Goldsworthy. In contrast to Goldsworthy’s utilization of the found natural materials of stone, rock and sticks, Paivalainen introduces a man-made element that speaks both directly and indirectly to the presence of humanity.
The used clothes are symbols and evidence of the past, unknown people and their stories, memories and dreams. These symbols are installed in the natural landscape, in which there is no other presence of mankind, creating an abstract interplay and dialog between mankind and nature. The clothing is arranged either in familiar shapes or abstract patterns within the landscape, although she will sometime extract these sculptures out of this natural context.
During her initial Ice project, occurring in the middle of a Finnish winter, she soaked and then formed the clothing as it quickly froze, animating the sculptured clothing. For this project she also utilized the flat overcast lighting to eliminate shadows, allowing the ghostly sculptures to float and hover over the landscape. During her Ice project, she encountered another unpredictable natural element, the wind, which led to yet another series of experimental clothing-site sculptures. This has in turn led to a continuing series of investigations into the interplay and conversations between nature and mankind.
The garments represent both the presence and the absence of their former owners. Päiväläinen uses the properties of the landscape in Finland, England or Japan, as a stage for displaying the clothes. By soaking them in water and placing them outside in the Finnish winter, for example, the garments freeze solid, filling out as if someone were wearing them. This gives them a sculptural quality and opens manifold metaphorical and narrative possibilities. I was thinking I could explore this route further into my own creation and ideas and how I could develop this into a final piece.
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