Sanctuary Exhibition: Artcodes Part 2

Check out the images below to see how the Crop-Up curators have interpreted the photographs on show. How do they compare with your interpretations?!

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SANTERI TUORI, Sky No. 7 2011-2012
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The Wreck of a Transport Ship by William Turner (1810)

Tuori vs. Turner

When I first saw Tuori’s photograph, I was immediately struck by how similar it is to the paintings of J. M. W. Turner. Despite two hundred years, and two different mediums separating them, they are remarkably alike. The first Turner painting that came to mind was The Wreck of a Transport Ship. Turner was fascinated by the destructive power of nature and you can see this in his use of frenzied brush-strokes and atmospheric dark colours. The shipwrecked boats are obscured by the storm around it, and as a result, the waves, rather than the distressed sailors, become the protagonists. This is the same in Tuori’s Sky No.7. The emphasis is solely on the sky and clouds look as though they could be the waves in The Wreck of a Transport Ship. Tuori layers black and white and colour film to create depth, which means that the sky isn’t just blue; its slate grey, cerulean, and yellow.

Turner was also fascinated with sunlight and how to capture it. He believed that “the sun is god.” In The Fighting Temeraire, Turner’s delicate brushstrokes makes the sunset almost look like pure light, giving the painting an ethereal quality. Again, both the sky and the sunlight are central, and the warm yellow and orange colours spread across the whole canvas. In Sky No. 7, Tuori manages to capture light in the same way as Turner, with the dark clouds contrast the sunlight streaming through the swirling sky, and his remarkable photograph might make you do a double take when you find out it isn’t a painting.


By Alice Avis

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Caspar David Friedrich ‘Wanderer Above the Sea Fog’ (1818)

I have chosen to compare Santeri Tuori’s stunning work with the infamous ‘Wanderer above the Sea Fog’ by Caspar David Friedrich. Despite the two works being centuries apart, both works display similar storm-like tones that give the images a sense of wildness and the viewer is subjected to the elements. In Tuori’s photograph, the viewer becomes that of Wanderer, gazing out on a height and observing the billowing clouds below.


By Molly Chatterton


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SANDRA KANTANEN, Untitled (Lake 4) 2010

The reflection of the surrounding nature in Sandra Kantanen’s photograph, Lake 4, is reminiscent of Claude Monet’s painting, Nymphéas, from his ‘Water Lilies’ series. The impressionistic style of Nymphéas highlights the reality of the natural world which can be hard to depict using paint. Compared to Nymphéas, Lake 4 holds a more obvious quality of earthly realness due to its photographic form, however even with the difference in mediums, the authenticity of the natural elements is difficult to separate. Due to similar colour palettes of muted hues of blues and greens, the serenity of the world is vividly illustrated through both artworks. Despite the earthy sense of realism which each work exudes, the line is blurred between what is in the real world, and what is a reflected image and thus adds to the tranquility of the crossover between the real and the surreal.

By Milly Cooke


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ANNA REIVILA, From the series Bond 2016

Milly, a Crop Up curator, finds From Series Bond, reminiscent of a video by Bjork for Black Lake. Below is a link to the video:


By Milly Cooke


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TESSA TRAEGER, From Voices of the Vivarais Series Gerbe de Marriage 1995

Traeger’s photo looks like a satirical silent film, the monochrome palette and the figure display this comical scene, and specifically the moustache of the gentlemen reminds me of Charlie Chaplin. Henceforth below is a link to a silent film, Modern Times, starring Chaplin:


By Denise


We’ve also made a playlist inspired by the photographs on show! Click here to listen:


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