Born 1981 | Lives and works in Imatra, Finland
Tapio Mömmö’s oil paintings engage with atmospheres and surreal occurrences, which he creates by blending and merging diverse forms and elements together. Human figures frequently appear in his compositions, serving as pas-sive observers or active participants in enigmatic events and ambiguous frameworks.
Mömmö’s artistic process is characterized by spontaneity and intuitive exploration. He does not adhere to prede-termined plans; instead, his work evolves through the influence of chance and subconscious impulses. The act of painting develops through a balance of chaos and control, with rational thought purposefully held in abeyance. Guid-ed by a non-verbal, intuitive sensibility, the resulting works often evoke a sense of disorientation and invite critical reflection.His starting point is often digitally altered photographs. Through the distortion and recomposition of pho-tographic material, he searches for compelling forms and visual structures.
These digital studies serve as the foundation for his paintings, marking the beginning of his artistic process. With his often almost sketch-like characters which remain somehow in a contradictory motion, Mömmö invites the spectator to act. By leaving the characters faceless, the artist gives the audience room to position themselves in the varied situations. One needs to move, to see, to regain the position and look again. The impossibility becomes possible and Mömmö turns the probable around. The unreasoning in life suddenly feels certain, sensible and real. Mömmö absorbs the canons of the art history and mediates it with originality; even resonating with the old masters.
His starting point is often digitally altered photographs. Through the distortion and recomposition of photographic material, he searches for compelling forms and visual structures.
These digital studies serve as the foundation for his paintings, marking the beginning of his artistic process.
With his often almost sketch-like characters which remain somehow in a contradictory motion, Mömmö invites the spectator to act. By leaving the characters faceless, the artist gives the audience room to position themselves in the varied situations. One needs to move, to see, to regain the position and look again. The impossibility becomes possible and Mömmö turns the probable around. The unreasoning in life suddenly feels certain, sensible and real. Mömmö absorbs the canons of the art history and mediates it with originality; even resonating with the old masters.
