Berengo Studio 1989 | SOYLE YLI-MÄYRY
berengo studio, berengo studio 1989, glass, glass production, glass sculptures, art, contemporary artists, artists, contemporary art, exhibitions, art fairs, furnace, blown glass sculpture, murano, venice italy, vetro, produzione vetro, sculture vetro, arte, artisti contemporanei, arte contemporanea, sculture vetro soffiato, mostre, fiere, fornace, venezia italia, murano, adi holzer, aldo mondino, andré verdet, andrea salvador, bengt lindström, charlotte hodes, christoph kiefhaber, claude venard, elvira bach, erik dietman, ernst billgren, fabrizio plessi, gerda gruber, irene rezzonico, james coignard, jan van oost, juan ripollés, kiki kogelnik, klaas gubbels, koji kinutani, lena cronqvist, lolita timofeeva, luciano castelli, luigi benzoni, maria grazia rosin, marie louise ekman, martin bradley, mauro bonaventura, michel van overbeeke, nikita alexeev, pino castagna, reinhoud d’haese, riccardo licata, richard jolley, robert zeppel-sperl, sergej mironenko, sergio bovenga, silvio vigliaturo, soyle yli-mäyry, ursula huber
50675
portfolio_page-template-default,single,single-portfolio_page,postid-50675,edgt-core-1.1.2,ivan-vc-enabled,ajax_fade,page_not_loaded,boxed,,vigor-ver-1.8.1, vertical_menu_with_scroll,wpb-js-composer js-comp-ver-4.11.2.1,vc_responsive

SOYLE YLI-MÄYRY

An artist of extraordinary expressive power, Soyle Yli-Mäyry has devised with painting a calligraphy for her ideas.  The ever-dazzling colors change, corresponding to her spirit at the moment of creation; the sign-designs forcefully cut and dig into the material, like the layers of a life as it passes.  Her works demand not so much a rational and precise interpretation as an evocation of existential situations, hidden feelings and aspirations.  In these works, the tale – if it exists – respects no narrative logic nor does it elevate technique to an immutable practice.  Lumps of color are placed on top of each other, are merged, and then re-emerge in a pictorial magma that creates charmingly unstable figures, structures, and objects.  The brilliance of the thick material in these paintings, with the various layers of sediment, combines into areas that catch the light, making the white of the virgin canvas resurface and scraping away the pigment applied earlier.

The natural evolution of Yli-Mäyry‘s dynamic, textured painting was into sculpture – specifically glass sculpture in which this material’s ability to reflect and produce light as well as the metamerism and strength of its colors, the result of the transparency and brilliance of the glass itself, have made it one of the artist’s favorite mediums.