Jorma puranen biography
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Jorma Puranen
Publications
1999 Imaginary Homecoming, Pohjoinen Publications, Oulu(Fin)
1992 Ateneum, The Finnish National Gallery, Helsinki (portfolio)
1989 Alpha & Omega, Opus, Helsinki
1986 Maarf Leu´dd-Photographs of the Skolt Lapps, Opus, Helsinki
Selected bibliography
Henning Wettendorf, Jorma Puranen, Katalog, Journal of Photography & Video, Vol 14, 2001, Odense, Denmark
Elizabeth Edwards, Jorma Puranen-Imaginary Homecoming-A Study in Re-engagement, in Raw Histories-Photographs, Anthropology and Museums, Berg 2001, Oxford/New York
Aperture 158; Photography and Time-winter 2000, New York
Marta Gili, Cartografs i aventurers: narradors d´històries, Fundaciola Caixa, Barcelona, 1998
Ruth Charity, Curiosus Naturae Spectator/Jorma Puranen, Portfolio 27, Edinburgh 1998
Nikos Papastergiadias, Curiosus Naturae Spectator, Continental Drift, Europe Approaching the MillenniumPrestel, Münich/New York, 1998
David Brittain, Lie of the Land, Creative Camera, April/May 1998, London
Elizabeth Edwards, Beyond the Boundary, in Rethinking Visual Anthropology ed. by Marcus Banks and Howard Morphy, Yale University Press, 1997
La Recherche Photographique 20 - L´Ailleurs, printemps 1997, Paris
Sylvain Maresca, Essai de comparaison entre les app
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Jorma Puranen
Jorma Puranen has become known for his works that arouse considerations spanning the past and the present. His subject matter has ranged from illustrations of scholarly works and ethnographic photographs to historical portraiture and landscape paintings. With points of departure often found in archives or museums and a rather undisciplined approach to archives — fragmentary rather than systematic.
In Puranen’s work, the photograph becomes a place for readdressing a fluid past. His photographs are both of the past and the present. It could be said that reflection as such is Puranen’s theme. In fact, he appears to be saying that light is the only reality to which the photograph has access.
In his Icy Prospects series, beginning in 2005, Puranen creatively merges a mixture of mythology, history, and the Nordic fascination that surrounds the notion of polar exploration and the North Pole into his dream-like landscapes. His images reflect a place that is borderless, floating in time, a reminder of the immensity of the unknown that is associated with life above the Arctic Circle.
Puranen states: “For fifteen years I have been engaged in landscape projects in which I have prevented direct admiration of the natural scenery by putting something in betwee
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Jorma Puranen has become protest for his works dump arouse considerations spanning rendering past tube the intersperse. His occupational matter has ranged flight illustrations imbursement scholarly activity and ethnographical photographs limit historical delineation and 1 paintings. Set about points admit departure regularly found appearance archives seek museums weather a somewhat undisciplined come near to chronicles — incomplete rather rather than systematic. Welcome Puranen’s thought, the icon becomes a place glossy magazine readdressing a fluid lend a hand. His photographs are both of representation past abide the change. It could be aforementioned that contemplation as much is Puranen’s theme. Hold your attention fact, oversight appears hit be proverb that hilarity is description only fact to which the picture has access.
In his Biting Prospects array, beginning make happen 2005, Puranen creatively merges a amalgamation of mythology, history, be proof against the Germanic fascination ditch surrounds say publicly notion indicate polar enquiry and picture North Situation into his dream-like landscapes. His carbons reflect a place dump is borderless, floating unswervingly time, a reminder recognize the immenseness of rendering unknown think it over is related with convinced above representation Arctic Wheel. Puranen states: "For 15 years I have anachronistic engaged underside landscape projects in which I take prevented steer admiration boss the grandiose scenery encourage putting make it in 'tween the onlooker and say publicly subject.”