In this collection I document a character that went through the process of transmuting a state of deep existential loneliness into wholesome, nourished aloneness. The character of the series is the lonely house: often a vibrant and simple facade, standing in front of a crystalline, pastel blue sky.
The eight artworks in this series are in essence the same house. I document a very human process this house goes through, finding itself. It all starts with a lost house, in search for its origins, and in search for its tribe. It ends with the same house fully embracing its own nature as the answer. The depiction follows always the same symmetric pattern. Birds and antennae are used purposely to represent elements of introspection and communication.
The story starts with the house, tired of searching. It goes into denial, making itself hard to access, locking itself in to play ‘Video Games‘. After a long time in this state, the house finds that everything around it kept moving. Particularly nature. The house snaps out of denial realising it was being engulfed by vegetation in ‘Nature Wins in the End‘.
At this point the house engaged in introspection. It chose to look back to its ancestors, and to its own core at the same time in ‘The Grandfather‘ and the ‘Arctic Sun‘. The house fully embraces its loneliness, engaging in what some refer to as the dark night of the soul. The ‘House with Freckles‘ represents enduring this period. The freckles stand for the passing of active time, for the increasing awareness of the self, and for the embracing of pain. But they also represent the form of the healing process. The freckles are made from plastic birds picked from the ocean. This process of turning harming plastic into freckles triggers something in the house. An insight that opens the path to the end of this story.
The house stopped searching, and began just being. One day it felt a sudden and almost overwhelming sense of peace — a strange new friend indeed. It saw this emotion ripple through the sparkling ocean. The vibration turned the freckles into doves that unattached themselves from the walls, and flew away. They had accomplished their mission.
The new ‘French House‘ grew new windows and doors. And in ‘Stockholm‘, it tried to fit in with the others. It kept looking for its perfect matching empty space-pattern, to occupy a place in the large scheme of all things. But it did not find such place. In many ways Stockholm is a test, and a final ‘let go’.
This story ends in ‘Quirky‘, where the house finds resolution and liberation. It found solace and hope in finally knowing its nature. What it is, becomes known to others through being, and not by it being spelled out. Quirky grew several antennae so that it could listen to signals that come from many directions. These signals echoed in empty space before now. Quirky is open to others, and has space for them. But what makes its inner core is a secret garden. It is not on display. Instead it just determines the house’s future path, a thread awake, in the fabric of all things.
Debut is Sejkko’s first series of fine-art photos. Some of these artworks were presented for the first time in a group exhibition that took place as a satellite event of the Venice Bienale 2016. The collection comprises eight photographs available in Chromaluxe Art or Hahnemuhle PhotoRag 320 gsm printing media, in two sizes (around 11×11 and 22×22 inches approx).