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Kari Soinio
June, 2017
Kari Soinio’s current project, Disruptions in Landscape, offers views of contemporary urban landscapes from a specific point – and across a temporal continuum.
Each of Soinio’s large-scale panoramas contain a series of joined images, photographed successively to form a unified yet never quite seamless whole. The cumulative image created by these vertical slices offers a point of reflection on how we actually perceive the world. They seem to be questioning how we engage such fundamental issues as time and space – and how innately awkward and subjective both our experience and our representations of it are. By bluntly calling the viewer’s attention to these perceived discontinuities, perhaps Soinio is ironically underlining the underlying continuity of our world.
Kari Soinio is not in fact opening a new discussion on the nature of perception. He’s actively engaging – and adroitly contributing to – an exploration that stretches from Paleolithic cave art, to cubism, to Huxley’s doors of perception – and to the tiled photo array’s beamed back to us from the Martian surface. And so much more between.