Interpretation is endless
Liisa Kaljula (3-4/2011)
Liisa Kaljula talks about the exhibition Urmas Ploomipuu’s White House curated by Tõnis Saadoja.
Without doubt Urmas Ploomipuu’s White House is a risky attempt by Tõnis Saadoja to find a soul mate from among Estonian photo realists and to manifest himself as the spokesperson of conceptual painting. Even though the exhibition displays a retrospective of Ploomipuu’s works along with his graphics, the focus of the exhibition is Ploomipuu’s four still-lives in oil. Ploomipuu’s works are by no means dominated by randomness, but rather by mathematical beauty and order. That is how, in Saadoja’s vector graphics, Ploomipuu’s Exposure (1983) is first reduced to four squares of exactly the same size, then to eight triangles of the same size and those in turn to perfectly parallel axes penetrating the borderlines of objects. The orderly beauty of Ploomipuu’s still lives is flawlessly expressed in Saadoja’s drawings, such as in Vitruvian Man.
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