For major part of his artistic practice Pulkkinen takes a place or a site as a point of departure, thus adapting forms, constructions and representations of reality that surrounds us. Through the site-specific orientation he’s mapping the intersections between sculptural practice, architecture and space – the ruptures or breaking points the work of art is able to generate in the surrounding space or in the spatial experience of the viewer. Here, both the space these objects occupy and the space that surrounds them are of essential importance. The works subtly interrupt the accepted flow of the gallery’s spatial system and therefore the behavior that is associated within these particular architectural arrangements.
Pulkkinen is looking into the processes of production of meaning and imagery through these playful explorations, by adapting forms, constructions and representations of reality that surrounds us. Relating to Thing Theory, it has been argued that we begin to confront the thinginess of objects when they stop working for us, when the objects and materials are brought into a state of lack of meaning. Distortion (of the "normal" and thus often the "norm") is a favoured modus of his art.
Such deformations of the meaning and purpose of things, while at the same time using and retaining their formal qualities does not result in destruction. The aim, rather, is a fresh configuration and an alteration of meaning, that generate spaces and scenes of disruption. In these scenes of rupture, something unpredictable, something formerly unnoticed or unrecognized– breaks through for the viewer as sensible, visible and corporeal.
Pulkkinen is looking into the processes of production of meaning and imagery through these playful explorations, by adapting forms, constructions and representations of reality that surrounds us. Relating to Thing Theory, it has been argued that we begin to confront the thinginess of objects when they stop working for us, when the objects and materials are brought into a state of lack of meaning. Distortion (of the "normal" and thus often the "norm") is a favoured modus of his art.
Such deformations of the meaning and purpose of things, while at the same time using and retaining their formal qualities does not result in destruction. The aim, rather, is a fresh configuration and an alteration of meaning, that generate spaces and scenes of disruption. In these scenes of rupture, something unpredictable, something formerly unnoticed or unrecognized– breaks through for the viewer as sensible, visible and corporeal.