Among all my techniques, the one utilized in the artworks titled Jäkälä is the one I find to be the most meditative. Listening to the material is crucial to me, and I strive to find and uncover previously hidden qualities within it. I feel that I give a voice to the material through the skill of my craftsmanship.

The lichen-like texture emerged unintentionally as I was finishing the surface of certain sculptures during the early days of my studies. I found the clay residue left on the wooden tools far more intriguing than the sculptures themselves. A similar effect occurs while buttering bread one scrapes a lump of butter with a wooden knife. I began to use this method in my works, yielding textures that resemble lichen or fur. This delightfully intricate surface is not shaped by human hands; instead, the texture emerges within seconds as the inherent qualities of the clay reveal themselves.

These works remind me of my childhood in Nivala, where I used to spend time  in deserted houses. I recall large flower-like mold formations on the walls and structures of those dilapidated houses. They seemed fascinating back then, and I notice that my current pieces feature the same fan-shaped outlines. The lichen method that I use, with its fan shape, is reminiscent of various branching formations in nature, such as ice crystals or the way mold progresses. It is a universal mechanism by which matter advances and spreads. I have discovered this same quality in clay and harnessed it for my use.