02 Second Skin
03 Bearded Virgin
04 Insect Collection
05 Dialogue
07 Borderlne
08 Reformatory
09 Bodyspace
10 Dialectics of the Surface
12 Pyromania
13 Anti-dualistic Dualism
14 Neon-forest
15 various works
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Even in the early works of Timo Heino there could be discerned a method whose grip was only strengthened in these works, all made in 1995. Heino discovered and found for a smooth, synthetic surface its natural material opponent, carnevalising the parallel relations on a pure surface. For example, on the smooth surface of Chocolate Mould, the fine precious metal, gold, and the clumps of dog excrement become of equal.
In The Sea of Suffering and The Origin of Fire, the Day-Glo alarm colour, used in the emergency vehicles, glimmers around and/or between the pike skins. The alarm colour and the pike form a veritable contrast where the industrially produced and the handicrafted are forced to be neighbours. Hence, the pike skins here do not actually refer to any desirable primary production. To point this up, they have been coated with synthetic lacquer.
In The Garden of Time, mirror and dust encounter one another. Their opposition can be taken as a contrast on the levels of both material and semantic meaning. Hard and soft, rough and smooth, or on a wider scale, suction and reflection, the past (the layers of the dust) and the projection of the view (the present, the nowness) side by side resist one another. The mirrors offer three different views into reality, twisting and warping reality in the same way as dust particles when uniting their power into a solid carpet.
(c) Altti Kuusamo