100 Hectares of Understanding is my attempt to understand the one-hundred-hectare area of the forest I own. The significance of forests in Finland, both historically and economically, is impossible to overstate. 78% of the total area of the country is covered by forests – that’s over  20 million hectares.

Throughout the adulthood, my attitude towards my future inheritance has been somewhat indifferent.  After all, my recent explorations in the world of forestry have managed to provoke my interest in this unfamiliar property of mine.

The project includes both tangible and intangible approaches and visualizations of what forest  and forestry mean to me, and how the unknown becomes familiar. I am interested in studying what nature has to offer to the urbanized people, and to create new ways of thinking, experimenting and feeling the forest.

I arbitrarily mix various types of pictures with each other and define them as part of a larger visual entity. My working method is based on open-minded experimentalism. My photographs are  testimonial, traces of aspirations towards understanding and awareness. Photography, for me, is a gateway of my thoughts and imagination.

I employ various methods and techniques. I see similarities between my acts in the forest  and the artist Hamish Fultons walks that he records with photographs and poems. The way how  I collect together an entity out of fragments is comparable to Christian Pattersons methods, especially his Redheaded Peckerwood project. My project is based on the objects I have found, the acts I have photographed, and the sculptures I have made, as well as visual secrets I have created.


With Nature Like Capital, I set out to visualize the complex and contradictory relationship between man and nature, reflecting on the manner in which mankind is part of the natural circle of things. My work attempts to make peace between humans and nature in some way, despite my awareness of the impossibility of this task. I approach my subject with an open-minded playfulness, and my photographs often serve as evidence of the visual research I conduct. I am drawn to places where the radical interference of people or of natural forces is visible — be it a plantation of trees or the aftermath of a forest fire. I want to present my ideas with a certain honesty, but always with some visual secrets challenging the viewer to consider the larger context of the work.