CLAWS, 2018

Animated drawing projected on plasterboard, duration 1:10 min, silent, HD size 102 x 55 x 10 cm

FIGURATIVE, 2003-

Mergers of sculpture and painting. Three dimensional figurative works made of pigmented plaster. These works investigated the pictorial language which forms when object is seen as a painting and picture.

“If you look at Rannikko's three-dimensional works from a little further away, they seem to lose their three-dimensional quality: they become like unframed paintings. In this situation, the works are something other than either sculptures or paintings. They are like a genre of visual objects that are unknown to us, which make us strongly aware of the linguistics of visual presentation"

Veli Matti Saarinen in catalogue Terrarium

Complete text by Veli-Matti Saarinen from exhibition catalogue Terrarium is found here

Discussion with Jan Kaila from exhibition catalogue Terrarium  is found here

B/W, 2009-

These works are like stages. Works play with conventions of exhibition by creating three dimensional pictures of constructions for showing artworks. Works are presented in exhibition context but at the same time they represent situation which could be seen as an exhibition. Multiple layers in same work create ambivalency and situation where actual place of the work is hard to define.I have used the modernist and minimalist forms as a actors of meaninglessness and emptiness. They do have their tradition in context of art, but at the moment they have lost their significance. Those pure forms represent idealism and purity which at the moment is mainly only reference its history.I place these forms in surrounding which refers to unorganized and accidental happening. Even works are carefully structured they have a quality of chance in them. Timeless untitled forms are part of very temporal act. Certain qualities of presence turn to be a part of narrative act. This and black and white illusionistic handling of surface I see as a clear reference to tradition of photography. Photography and sculpture as documents and/or representations of reality in one piece create interesting parallel of existences in work of art or  presentation.

REYNOLDS, 2014

Spray paint on public statue

Public statue is an image of its subject but at the same time it represents time and ideology of pictured era. What happens if we look statues again in the context of this moment? What happens if we emphasis the picture and illusoinistic qualities of statue and its subject? How this subject, ideology and concrete statue could be re-seen and re-rembered in its place? Do we see a model of our own expectations or something which could be interpretated as real and meaningful. Statue of sea captain and founder of Norvergian IOGT (International Organization of Good Templars)

Carl Reynolds is painted with black and white spray paints. Light and shadow painted on statue is based on the photograph taken of statue the time it was erected. Painted statue creates illusion of two dimensional picture. 

Production Kunsthall Grenland, Porsgrunn, Norway.

UNKNOWN UNTITLED

Rannikko has re-painted found paintings. He has copied meticulously the subject of original painting in grayscale on the top of original painting. The subject of painting remains the same but colours vanish. Copying gesture transforms the painting to a picture of itself but at the same time it stays as original subjective work.

The black and white way of ececuting the work changes the works relation to time. This has some qualities of photography in it: reference to past, window-like flat picture quality and documenting quality where, all you see in picture has been there before.This changes the paintings existece as actual precense and as object. As a remake I see this in close relation to fiction and even narrative. Repainted painting is like story which is told again, incomplete rendition of subject. In this way repainting comes closer to abstraction. When I am painting this amateur painting I am painting somebody elses perception, something that somebody else has seen or imagined. This double vision is somehow schizophrenic: who is painting and what, who is seeing and what. The motif of painting can be a person to whom I have not any relation, but the painter before has found that person somehow important. Actual meaning of work is somewhere between paiting acts of mine and unknown painter.

The gesture by which Rannikko covers and marks the already painted surface is close to act of violence. It is interfering to something personal. Movement of body, painterly gesture on canvas replaces the earlier gesture with new, reducing gesture.

I see perception as a violent act. I somehow interfere with something that is outside of my own body. Basically the view which I percieve is flat compared to concrete three-or four-dimensionel world around me. By changing the precence of painting to image of itself I kind of push the painting to different space. Its qualities in exhibiting space are decreased. Re-painting painting also changes its temporal qualitites. It doesn't follow the time around it but stays in one frozen moment of the black and white.