About the work
Muriel Kuoppala shows three large-format abstract- geometric from several canvases together set paintings that are based on the elements circle and line and are oriented with their shapes and colors vocabulary of the diverse traditions of geometrical abstract and spiritually motivated art. It sound both associations with the abstract expressionism to, as well as for analytical and Color Field painting shaped canvases. Further connections are to the spiritually charged locations of Hilma af Klint, Emma Kunz, about mandalas or folkloric techniques like batik. Muriel Kuoppala ‘s images are sourced both by analytical Confrontation with the icons of Painting and intuition, in the juxtaposition of Control and chance of the painting process.
Curator, former director of Kunsthaus Glarus
Extract from Fokus/KARIEL in Kunsthaus Glarus exhibition text.
Most interesting in her ”theses” is that she, contrary to what could be perceived as a standard model in modernist aesthetics - namely to separate between subject and object, in philosophizing on space, vision and form, includes herself, the artist, as an essential part of the substance in the painting work. As Lässer (now Kuoppala) uses viewing the starry sky as an example on how a space can be assessed assomething never-ending and immensely bottomless and impossible to understand what is seen from a measurable point of view, but is, however, capable of bringing us closer to this immeasurable by means of our intuition and fantasy, she has in an indirect and metaphoric way succeeded to describe both the foundation of an artistic act and experiencing as a means to ”understand” that which seems immeasurable to us.
Excerpt from MFA examination report.
In her paintings, Lässer connects to the tradition of spiritualist art, which informed many of the big modernist artists of the early 20th century. She uses symbols of time and transformation, such as crystals and swirling bodies of colour, to produce vistas to other worlds, or to places that may exist between dimensions. Apart from working in continuation ofthe hippie generation’s appetite for all things occult and supernatural, the cosmic narratives of Lässer’spaintings also connect to a relatively unknown history of women’s art. The Swedish painter Hilma af Klint (1862-1944), for example, allegedly took dictate from the spirit world to produce a strange type of abstraction that was close to her contemporaries Malevich and Mondrian – even if she always worked in isolation.
Lars Bang Larsen