Earth Day and Shakespeare’s Birthday both take place in April, a month known for its showers and blossoms. The poetry month of April resonates with the nature’s big events, and surely that of playwright and poet William Shakespeare’s imagination. Earth Day is celebrated on the 22nd, and Shakespeare gets his day on the 23rd.
Earth Day wishes to bring us back to thinking of hope in the days of chaos, and optimism for our futures during crisis. Each of us has a voice in creating our ideas for, what the future might hold, and what kind of world would we rather imagine. Perhaps a look back in the history will show us, how not to live in the future. From the point of view of conservation, Shakespeare’s times weren’t necessarily better than our more recent past.
“TheShakespearean Forest” is a book written by Anne Barton (Cambridge University Press, 2017). The book handles woodland in early modern drama. “The Shakespearean Forest” puts the playwright’s work within a historical, social and literary world of forests. It also questions, how the forests might have been staged in the early theater. Forests as surroundings were also “stages” for leisure hunting, and preparation for warfare.
Shakespeare’s birthplace, the town of Stratford-upon-Avon, was surrounded by the Forest of Arden. This forest was already in decline in his time. It is believed that during his lifetime, trees were more of a commodity, used as timber for building houses and ships, and functioning as fuel for cooking and heating.
To see nature in a positive light in Shakespeare’s work is not hard though. Nature acts as a metaphor in his writings numerous times. One of the greatest is from “King Henry“:“Let heaven kiss earth! now let not Nature’s hand Keep the wild flood-confin’d! let order die! And let this world no longer be a stage To feed contention in a lingering act.” (Henry IV, Part 2).
There are so many beautiful and accurate comparisons between seasons and our life cycles, seeing weather as a backdrop for actions, and setting its moods for our own. Not to mention how romantic sentiments are created within nature. Shakespeare’s“Sonnet 98” is an appraisal for the month of April, a song of Spring.
From you have I been absent in the spring,
When proud-pied April, dressed in all his trim,
Hath put a spirit of youth in everything,
That heavy Saturn laughed and leaped with him.
Yet nor the lays of birds, nor the sweet smell
Of different flowers in odour and in hue,
Could make me any summer’s story tell,
Or from their proud lap pluck them where they grew:
Nor did I wonder at the lily’s white,
Nor praise the deep vermilion in the rose;
They were but sweet, but figures of delight
Drawn after you, – you pattern of all those.
Yet seem’d it winter still, and, you away,
As with your shadow I with these did play.
The Folger Shakespeare Library, in Washington D.C., opened in 1932 being an independent research library devoted to advanced study of the Renaissance and the early modern period in the Western hemisphere. It is a world-class research center with an outstanding collection of editions of Shakespeare’s plays. The Library has one of the world’s finest collections of 15th- through 18th-century rare books and manuscripts from Great Britain and Europe.
Tamara Piilola is a young generation Finnish painter with almost enigmatic ability to capture natural processes on the canvas. Or more than a process, her images offer views with a hint of gold in them. As a painter her perception seems thoroughly personal, and therefore can touch many. Piilola started the arts as a musician, and perhaps its possible to hear music when looking in to the painter’s landscapes.
Firstindigo&Lifestyle: Where in Finland did you grow up and study art?
TP: I grew up in the small city in the west coast of Finland. I studied in the south, in Turku and in Helsinki in theAcademy of Fine Arts. I was an exchange student for one year in Leipzig in Hochshule für Grafik Und Buchkunst and spend months in Reykjavik during my studies.
Firstindigo&Lifestyle: What is your story of becoming an artist?
TP: I’m the only child, and I started to think about art first through music. I studied in a conservatory for ten years, but in classical music you don’t have the freedom to play how you like it, or if you do, people think you’re wrong. It’s much longer process, with a lot more technique involved.
I went through every book that we had in the house. As a child, I remember I was deeply interested about the Old Masters and portraiture by Rembrandt, Holbein and Gainsborough. I was mesmerized by the use of light and the extraordinary talent itself. I wanted to do something similar.
I got my first camera and Marie’s oil paints as a ten-year old. Around the same time I enlisted myself to a painting course with some grannies (they’re organized everywhere even in the countryside in Finland). As I got a bit older it was certain I wanted to go to art school and quit classical music.
Firstindigo&Lifestyle: How did you choose oils and painting as your medium?
TP: I did some photographs as well but in the end paintings have turned out to be the most flexible media for me. The texture is very important for me. Although I did photos in which I used for example liquid chocolate and velvet, the outcome was too cold and the end product had an industrial feel to it. In black and white pictures, you have the softness, but then you lose the colors. I have learned to use only the best materials in my paintings and usually paint just one layer to keep the colors pure and bright. Oils can become dull and lifeless when applied thick. Oil paint is so flexible that I can adjust what I’m doing, and because of the way the pigment is held in the oil, it is beautifully luminescent.
Firstindigo&Lifestyle: What defines a good painting to you?
TP: Color, light, composition – all these things make the painting interesting to look at. The eye has to wonder. I love if you are able to grab something, it has some kind of energy, or you can relate to something. Paintings have the ability to embody a series of thoughts and feeling processes, and good paintings are very personal. It’s all there on the canvas as a record.
Firstindigo&Lifestyle: What is there in the landscape painting that fascinates you, maybe the history of it too. How about the influences?
The heavy load that comes with the term landscape was at first turnoff for me. When I got in terms with the subject (which I felt I had to do), the whole world opened up to me. It was like a flower that was opening in front of my eyes. I felt I was completely free to do whatever I felt like with this subject. It felt like it was mine, all mine to explore, and that was beautiful. My large canvases of imaginary landscapes present viewers with startling experiences of nature. These detailed views, full of mystery and light, colour and verdancy, draw viewers to their essence and idea.
TP: These are not recognisable landscapes but the creations of countless memories stored over time as photographs and sketches. Thin layers of paint, bold fluent brushstrokes and the use of pure pigments combined flood the paintings with light. Landscapes do not always have to be beautiful. I paint wastelands, timber stacks and dunghill, emphasising their decorativeness. I depict decaying beauty and allow natural forms to blend into almost abstract surfaces. I’m soaked with art history because I have been interested in art all my life. My favourite painter is Lucian Freud, the master of seductive and complex psychological portraits. My favourite movie directors are Kubrick and Lynch. In music it’s much harder to point out the most influential ones, I listen to music in my studio all the time from almost all genres. In literature there are many great minds that speak to me, Hesse, Nabokov, Murakami, Knausgård, Hustved, Woolf, Wilde. I don’t have a specific landscape painter that has influenced me.
Firstindigo&Lifestyle: Is being a figurative painter these days a rare thing. How do you feel the genre is approached in the contemporary art world?
TP: With suspicion – no just kidding. I think now it’s much more acceptable to be a painter. I think there is the audience and professionals who recognizes the talent and accepts it as it is: A viable art form. As an artist, you always have to be interested of what other artists do. I think there is a lot of theoretical confusion about art. Everybody thinks they have to make theoretical work and be able to explain what they do. I think if you hear this long enough, this kind of stuff gets in your way when you’re coming up with ideas, because you start thinking through a filter.
TP: I always thought that art could move more on the emotional level. You should work with your feelings, because if you’re using language to put things to action, you limit yourself. Many times things in art don’t make sense.
Firstindigo&Lifestyle: There is almost a photographic precision to your works. Do you layer the works, plan the works with meticulous detail, and come up with the entire idea before starting to paint?
I have photographic memory and I often work with images that have a lot of details. I start sketching by doing a collage with a computer (I used to work with paper and scissors before). At the end, there is a sketch that gives me a solid structure, the composition to work on top of. This is extremely important stage. After that I can start painting and I have quite a lot of freedom to choose which colors to use, how the brushstrokes will look, and overall how the end result will look. This structure gives me freedom to improvise. The motives have to be challenging, full of details and light to keep the painting process interesting. I love to see a big painting almost ready, I get excited about my own work.
Firstindigo&Lifestyle: How would you describe your method or process of working?
TP: I’m a deadline worker and I do exhibitions, not just one painting at a time. I work with about eight paintings at the same time. If I get an idea or a feeling that something should be done it usually takes years to pass through. I have a solid confidence in what I do, but that doesn’t mean I’m satisfied with everything I do. I don’t think it’s a bad thing to question your work. On the contrary – the best thing is to view the work from every angle and to be very skeptical at first if you get a “good idea”. I’m very patient to give my ideas the time they need to develop. I need to build a relationship with the motives: I want them to be familiar. When I know I can start, I go through my picture bank to fill the missing pieces in the collage. I focus on the composition and not so much on the colors.
Firstindigo&Lifestyle: Do you have an artist motto?
TP: Yeah, trust your intuition.
Firstindigo&Lifestyle: Are you in love with nature as it is your playground in a way, how about the trees that come out so vividly in your works?
TP: I think it’s not about loving though I love nature, it’s about respect. I recognize certain similarities in Finnish and Japanese cultures. We have both had our animistic past. The recognition of energy in things was very natural for me as I was raised up by the sea, and the wilderness started right behind the fence. I think materials can be very sensual to look at and touch. In our times, it’s a luxury to have the time to look at things in peace. That’s what I do, I look and appreciate things.
Firstindigo&Lifestyle: Did you ever think of becoming an environmental artist?
TP: No. I’m afraid to destroy things in the nature and I have no interest to mess with wild things. I think there is such perfection in natural order, and to show “art” in that context feels utterly fake.
Firstindigo&Lifestyle: When looking back at your career, how have your paintings developed through the years?
TP: I went here and there in the beginning. About ten years ago I accepted the fact that it’s OK to do what I do best: Big paintings with a lot of details.
Firstindigo&Lifestyle: Is there anything particularly special to you about being a ‘woman’ artist?
TP: I don’t consider myself a woman artist, I am simply an artist. My works can be labeled feminine because they can be quite decorative. But I think it’s a drag to label things. I don’t think artist’s gender makes the work interesting unless the gender is the concept of the work. What is feminine and masculine? I’d like to go around those labels, because everyone and everything can be both depending on the culture.
Firstindigo&Lifestyle: You recently attended a group show in Galleria Heino in Helsinki. Have you collaborated with the gallery before?
TP: This was the first show I did with Heino. I love to work with them because they have the courage to show artistically ambitious shows, with basically no art market to sell them in Finland. Rauli Heino is a true art lover and I consider myself to be very lucky to be in their team.
Firstindigo&Lifestyle: Do you work with curators or more directly with museum and gallery directors? What is your experience on building a show?
TP: I work with all of them, it depends on the project. I listen very carefully what people are after and it’s always a pleasure to work with professional people. The structure of the new show is in my hands and it has to be, otherwise it’s not my show. I will do the best I can to make things work. To have the atmosphere of support and trust is very rewarding. To have fun, to discover and do wonderful things together, isn’t that what life’s about?
Firstindigo&Lifestyle: Do you think that you have had many successful shows?
TP: Yes, I think so. Success for me means that I am able to do the things the way I intend to. To do a good show means you must have the time to do it. It helps a lot when you learn to say no to projects that are not that beneficial to you.
Firstindigo&Lifestyle: How about such labels as ‘Finnish’ painter? If you consider to be one, what do you think about an international career?
TP: The world is definitely smaller than let’s say in the beginning of the nineties. Long stays abroad, mainly in France and Germany have influenced my work. I live and work in Helsinki, and I guess nowadays the place you live defines you. It’s an interesting question. I certainly recognize my subject matter to be very Finnish, and that’s fine. Does that make me a Finnish artist?
To be able to build an international career I need contacts to good international galleries. I would love to show my work especially in the Nordic countries, in the U.S. and in Canada. I think my work could meet some interest in these places since we have similar cultural values.