Okko Oinonen
2006 Chelsea
International Art
Competition
T
he photography of Finnish artist Okko Oinonen present surreal situations and post-apocalyptic visions in a dramatic, hyper-realistic format. His style is instantly accessible, providing a narrative in an allegorical manner akin to the masterful paintings of the Renaissance. Oinonen often uses humor or irony incorporated with an underlying sinister awareness that all is not as it seems. His photographs are crystal clear and fresh with dark undercurrents and gloomy skies; the background is the stage on which his drama unfolds. The people featured in his works are plastic and insular, somehow unaware of or disinterested in the distressing situation that surrounds them. In explaining his own work, Oinonen states, "Especially I concentrate on the contradiction between the virtual and physical reality, human mannequins in today's entertainment-culture and the relationship between man and nature." A particularly compelling work "An Ordinary Evening" from the series "It is time for stormy weather" explores how the virtual world presented on television is an intoxicating drug that subverts the reality beyond the borders of its screen. The small suburban family sits in front of their television in a warm, comfortable stupor either oblivious or unconcerned by the fire outside that is ravaging their neighborhood. Oinonen's image requires no additional commentary; the meaning is operative and clear.
Oinonen's photographs have been internationally acclaimed, winning grants and awards and participating in group and solo exhibitions in Finland, Estonia, France, Sweden, Germany, China, Russia and the United States. Oinonen studied photography at the University of Art and Design in Helsinki, Finland, and at Den Hague, Holland, and has been an art director in a new media company, thus seeing all sides of the visual culture.
Early on in his creative process, Oinonen visualizes what the final image must be, and changes his style to adapt with the subject matter. Depending on the particular narrative, he may use traditional methods of photography or alter the work using digital manipulation. "I want to make each photograph perfect," he states, "even better than reality itself." Indeed Oinonen's technical deftness is obvious, no matter how surreal the photograph; the image is seamless, leading the viewer to believe in the veracity of the situation. This is precisely why Oinonen's work is so compelling: though it is not us in the photograph, we are quite aware that someday it very well may be.