" 4 x 28 = 107 "


# 90, 2002, acrylic on frozen pizza cardboard box 24 x 24 cm
Lexmark European Art Prize 2003 finalist of the 1st jury ( Tiina Holli with an o ) | Artist's collection photographer Jukka Klemetti | art & photo © 2002 Tiina Hölli




" 4 x 28 = 107 "
series of square paintings in various sizes, 2002 - [ ongoing ] with several subseries

Coloristic Painting and an artist Being An Absurd Structure-Maker of 4-sided coloristic paintings ( ongoing )


Premise ( s )  /  Alkuoletus

  • my vision of  " this world "  ≠  my concept of  " this world "  ≠   my experience of  " this world "  ≠  my conduct in  " this world "
  • phenomenal, holistic or pure, raw, genuine ...   ≠   conventional, traditional, religious ...
  • a constant meaning   ≠   a  continuous purpose  /  pysyvä merkitys   ≠    jatkuva tarkoitus
  • electricity - what is it ?   [ pfffööh ]
  • how to live a good life ?
  • what is a zero ( 0 ) ?
  • Complete ( FULL  ) Emptyness  [   =  N o t h i n g n e s s   ]    i s    H A P P E N I N G
  • by objecting a structure, you become part of it - by refusing to see it, you are in it.
  • wtf is there left to do then ?
  • w u   w e i
Background  /  Taustaa
aha !  moment  ( this is herstory )

I had an Epiphany in December 2000, that

  1. because I perceive ( that ) I  -a m-  here, part of This, but simultaneously scattered around ...
  2. ... there is This Emptyness [ later I called it Nothing/-ness ] , thus
  3. as a part of This Emptyness, also I must be ( am ) Empty, Nothing

and because, and as

  1. " this whole world "  is Empty, Nothing, Emptyness, Nothingness, then it must be rather a SYSTEM than a STRUCTURE ( me also in it ), and
  2. this   SYSTEM   as   " N o t h i n g n e s s "    is    - -- --- >  H A P P E N I N G  < --- -- -    [ later I started to call this HAPPENING  - " Being " - ] and
  3. all STRUCTURES are absurd and (hu)man-made, while instead this SYSTEM, this
  4. Nothingness [ (as a Whole ) iS Complete ( FULL ) Emptyness ]  =  H A P P E N I N G .

so ... ... ... ...

... the whole point of this ...  A L L  ... is  H A P P E N I N G , nothing else, just H A P P E N I N G ,
that   H A P P E N I N G    H A P P E N S ,  that   H A P P E N I N G    K E E P S    H A P P E N I N G .

( Got it ? )

... ... ... ... so what ?

In 1996 I had started a vast ( ongoing ) documentative Archiving Project as my graduation work from art school. In turn of the year 2000-2001, as an essential part of my graduation work ( May 2001) in Time-Space -Art -category, I wrote a long conceptual writing about my concept of Being ( sort of phenomenal, I was thinking at the time ) and about Nothingness as H A P P E N I N G. ( Few understood. ) ( Can be found in my art school's library, I guess. )

I continued my art studies to get a professional degree as a Painter, and graduated in December 2002  from the Painting  -department, read about it here : |Agnes Martin|

My art school graduation work 2002 included two separate kind of paintings as color studies: small color studies on square bases, and larger figurative paintings, in which I had used the knowledge I learned with the small ones. Later the figurative painting series gradually got an additional content as about Wizzards and Witches, Sorcerers and Magicians - and later on I included it in my newer figurative painting series W O O M - Man.

In these figurative paintings, besides my skill in color, I of course was to show also a little of my figure drawing skills after all those years working working working like a maniac drawing croquis for hours at some point daily for months, while at the same time attending every Life Model Drawing session I could find, and studying densely & insanely classical anatomy drawing 1999 - 2001. It was absurd. I was absurd.

But in the main role were My Colors. My Inner Colour Life.

I was turning more and more to abstract painting and conceptual works.

In my graduation work I included a writing  ( a more poetic one ) about my Coloristic Painting and me being an Absurd Structure-Maker of 4-sided coloristic paintings ( ongoing ), series called " 4 x 28 = 107 ", 2002 - . ( Also this one can be found in my art school's library, I am guessing. --- Okay ... of course I have copies. )

Since 2004 this series of paintings ( also as a structure ) has been presented in several galleries and other public spaces together with another absurd structure I made ( ongoing ), a series of hundreds of little Artist's Books called 
epäröintejä lyijykynällä  /  hesitations with a pencil, 2004 - .

For survival causes during past years I had to sell some separate pieces of work from both of these compilations to different collectors, but I am confident that these collectors will some day gather the pieces and themselves in a big powwow and dance around my art hahaha

Since then I have found solid proofs, that I am onto something here ;
that is ; I  found s o m e t h i n g ... work continues ... only now   I   k n o w   what I'm doing
                                                                                                                 [   oh  yes     -- >   (  öh ?  )  ]
This is the third book to gather my conceptual writings
together with my poetic expression :   Ur Society.

In several points I am still that uttermost beautifully color-mindly-equipped, clear and stupid student beginning to paint - on the one hand this is excellent progress as it shows nothing's happened in-me ; I am still beautiful-mindedly as pure as I have always been when it comes to colouristic painting itself, having my own, individual inner colors still - but then again, on the other hand I am so done, in fact so over(done) and out, that I don't give a shit anymore. I never had a message ( I thought ), and I said I can stop any minute, and I am okay with Nothing, and who gives a shit about my painting ( s ) anyway.

What to do then.

I don't know.


I don't know.
#  29, 2004, acrylic on frozen pizza cardboard box mounted on 1 cm MDF-board 24 x 24 cm
ARTISTS 2005 - Artists' Association of Finland Taidehalli | Kunsthalle Helsinki 2005
 Artist's collection | photographer Juha Kärkkäinen | art & photo © 2004 Tiina Hölli
# 156 Tsunami Pink Dragon, 2011 from series " 4 x 28 = 107 ", 2002 -
acrylic on frozen pizza cardboard box mounted on cardboard 25 x 25 cm
art & photo © 2011 Tiina Hölli
[    helmikuun taiteilijat    ]
SO WRONG COLOR IN THE PHOTO !
IT IS COLDER IN REALITY ! I WILL CHANGE THIS SOON ! (...ER OR LATER)
LAPTOP SCREEN CALIBRATION FIASKO Explanation here
And finally ...

... what   H A P P E N E D   to my Premise ( s )  ?

  • absolutely
  • N o t h i n g
  • yet
  • i
  • don´t
  • yet
  • have
  • any
  • clue
  • but
  • i
  • make
  • a
  • space
  • reservation
  • here
  • in
  • case
  • something
  • should
  • come
  • up
  • 'cause
  • it
  • always
  • does
The Absurd 4-Sided Coloristic Structure-Maker Creator has thus spoken.
Since 2004 this series of paintings (also as a structure) has been presented in several galleries and other public spaces together with another, also ongoing absurd structure of Tiina Hölli's : a series of hundreds of small sized Artist's Books called epäröintejä lyijykynällä / hesitations with a pencil, 2004 - .   
The square format and the original base material of the first paintings was a deliberate choise of an art student in 2002 : I used thin cardboards of frozen pizza boxes, because they were free, available and I had saved plenty of them over the years. I glued and based each cardboard carefully with several thin gesso layers, but otherwise for me as a beginning art student it was simply a carefree way to start painting abstract works in an abundant and relaxed manner with free materials.

In the beginning I wanted to make a huge series of small squares - an enormous, changeable large installation of hundreds of small square paintings as a grid on one wall. But simultaneously with grandiose plans and goals, one essential part in making the first squares on cardboard was to cover the backside of the works with dark raw umbra, and on it write spiritual notes about my painting sessions with silver ink from a tiny glass bottle and an old classical ink pen.

Then followed different base materials, experiments, side projects, combinations, finished paintings glued on MDF-boards ... but still always retaining the same square format that I had immediately felt as my own. The square format itself became so dear and familiar to me, that I naturally started to cut other works, like photographs, to the square format.

The square shape has since become essential in my working and for the spiritual side. Below on this page I am opening a bit more of the spiritual background of making this series; also what were and are my practical and ethical dilemmas, and also the essential role this series has played in my art, in my development as an artist and a colorist painter, and in the mysterious, winding phenomenon called the personal growth as a person and a human being.
After such an intimate history together with the about 200 originals of this square series, and the notes on the backsides, I am understandably not at all comfortable with selling these works, and the longer this time span with them gets, the stronger becomes my resistance. Finally 2018-11-07, with the help of Jupiter returning in Sag, I found a solution I can live at peace with.

I am keeping in my own Artist's Collection the ones of my original first squares of this series that I still have left with me. If I feel like it, I will put newer ones for sale. And from now on, as I now paint new square series, I will concider most of them as detachable color studies.

This decision made my heart sing, so it is the right thing to do.
"From a formal standpoint, the square format, unlike the rectangle, makes no associative reference to landscape or portrait. The square simply “is”; an archetypal shape that is stable, static, and passive. From a compositional standpoint, the square is perhaps the most difficult shape to energize."
 Pamela Stockamore
For the records and for the collectors of the previous works, I am revealing here the whole pricing history of squares in this series :

Painting this series since 2002, the prices of these 24 cm or 25 cm squares have varied 200€-1000€ for the first 15 years, depending on if they were mounted on MDF, framed, versions, included in subseries, or have somehow a special history, been painted as part of an installation, have been chosen by a jury into an important exhibition, or are classics, or if I say so.

The average price of 24 cm squares was first 400€ for some years, then for a few years settled to 600€ with or without frames, then to 1000€ with frames, then the average price was 1000€.
Works for online sale in TAIKO since 2016 without even one contact requesting about them since, triggered me to soul searching about to sell them at all or not, and why sell ?

How to deal with the buyer never actually being in a direct tactile connection with a work that is so tactile, and that is made intense as tactile ? A work that is made with colorism, the viewer's reaction to light and color in the work, the haptic response of holding the small sized work in one's hand, the weight, and the surface structure of the painting with several layers of previous stages of the work - how to deal with knowing all this and none of it conveyed to the net viewer ?

Simultaneously with the new rules structure with possible international sales beginning autumn 2018, and these thoughts, I raised the prices of the 6 original squares for sale as rare collector items to 1400€, then to 1740€. Now I am following the guideline to keep my prices steady allround for the first originals, while the price for squares in the newest subseries Pizzaneliöt - Pizza Squares will be 444€ - raw straight from the process.

Main supports and sizes I have used over the years are my original small 24 x 24 cm and 25 x 25 cm and lately about 26 x 26 cm thin cardboards cut from frozen pizza boxes. Later I have used 30, 50, 60, 70 and 100 cm on papers, canvases on strechers, fiberboards and thin plastic films. My largest square sized 180 x 180 cm is combined from 9 pieces each sized 60 x 60 cm.

4-sided rule is a rare success, it intensifies the work. If such piece appears, I am making large installations with one or several intense works and expanding them with several simpler works of plain color fields, a few elements and repeating colors, surface structures with shades of color and so on. It is possible to expand the size of an installation later, or modify the installation to a different hanging space. I also do commissions with this method.

I am actively painting squares under this umbrella series name with several subseries titles. What will be the next episode ? This is most interesting a journey.
# 113  |  # 124  |  # 116, 2015,  acrylic on frozen pizza cardboard box each 25 x 25 cm | art & photo © 2015 Tiina Hölli
Sarja on aktiivi.
Työstän sarjan teoksia jatkuvasti, ja muutama sata teosta on aina jatkuvan muutoksen ja keskeneräisyyden tilassa, joko laatikoissa, epämääräisissä kasoissa siellä täällä, tai hujan hajan pitkin erilaisia tasoja. Otan vuorollaan yhden esille silloin tällöin ja katselen sitä - mitä se kaipaa, mitä siihen tulee lisätä ? Mikä teos on sen pari ? Millä neljästä sivustaan sen paino on, seisooko se kaikilla sivuillaan ? Millä sivulla se saa parin ? Merkitsen taustapuolelle muistiinpanoja, ja jokaisesta työstä on oma sivunsa sarjan työhuonepäiväkirjassa.

Yhtä 24 x 24 cm neliötä pohdin siis vuosia, mietin juuri sen väri- ja muotokysymyksiä tai vertaan sen vahvuutta rinnastaen sitä muihin neliöihin. Valmistuvien yksittäisten teosten rinnalla installaatiot valmistuvat näin pikkuhiljaa vuosien kuluessa parien löytäessä yksitellen toisensa ja ketjun kasvaessa. Tässä on muutama ideaalitavoite.
Prosessia rikastaa loputtomasti, innostavasti ja eksponentiaalisesti ilolla 4-sivun sääntöni.

Optimineliö on yksinään vahva teos, joka voidaan ripustaa neljällä eri tavalla, eli yksi neliö saattaa olla neljä vahvaa eri yksilöllistä teosta. Silloin teen neljään suuntaan myös ryhmän ripustusratkaisun.

Optimineliöiden ryhmä on sellaisten yksittäisten vahvojen teosten pari tai kokoelma, jossa jokainen neliöistä on sekä optimineliö että yhteensopiva kaikilta sivuiltaan ryhmän jokaisen muun neliön kaikkien sivujen kanssa.

Optimi-installaatio on sekä ajaton ja vahva itsenään että vahvasti paikkasidonnainen, tilaustyönä tehty mitoiltaan ja väreiltään, ja kunkin teoksen työstämisvaiheessa minussa on tapahtunut jokin eteenpäin vievä oivallus.
Sarjan työstämismetodista johtuen valmiiden teosten lisäksi sarjan keskeneräisiä teoksia on työhuoneella aina 200-300 (maalauskauden aikana enemmänkin) joko lähes valmiina, puolivalmiina, odottamassa ripustusratkaisua - tai paria, jolla ehkä jo on vahva yhden sivun painoarvo tai jokin pysyvä ripustusratkaisu.

Joskus vahva keskeneräinen teos odottaa lopullista sanaa siitä, haluaako se olla yksin, tarvitseeko se paspiksen ja lasikehyksen, vai sopivaa ryhmää ympärilleen.

Toisinaan jokin teos on yksin niin voimakas, jokin pari on niin merkitsevä, jokin triptyykki haluaa pysyä kolmisin keskenään, tai yksi tai useampi teos yhdessä alkaa kasvaa niin, että tämän varaan voin rakentaa kokonaisen installaation muodostamalla täysin uuden kokonaisuuden työstämällä alkuperäisen ympärille uusia teoksia.
This painting series is an active process and a work in progress.
I am continuously working on the pieces in this series, and a couple of hundred works is always in a constant state of change and incompleteness, in boxes, in disorganized piles here and there, or haphazardly on various desks and planes. One by one I study each of them now and then - what does it need, what to add to it ? Which work are pairs ? On which of its 4 sides is its weight, does it stand balanced on all of its sides ? I make notes on the backsides, and each piece has its own separate page in the studio journal of this series.

I am pondering on one 24 x 24 cm square for years, thinking about its individual color- and form -issues, or compare its strenght by juxtaposing it to other squares. Alongside individual squares getting ready, little by little during the years the installations are also formed by pairs founding each other and chains growing.

The process is infinitely, inspiringly and with exponential joy enriched by my 4-sided -rule.
An optimum square is one single powerful piece, which can be hanged on any of its 4 sides, so that one work forms 4 separate strong works. In that case, I will also plan how a group of works hang to four directions.

A group of optimum squares is a pair or a compilation of such 4-sided separate, individual strong squares, where each piece in the compilation is simultaneously both an optimum square and compatible from all of its sides to all of the 4 sides of all other works in the group.

An optimum installation is both timeless and strong as itself, and strongly site specific while made as a commission work in measure and color to match the hanging space, and with an ahaa -moment or similar onwards movement happening in me during the processing of each work in the installation.

For an artist, such optimums exist as ideal aims. They also give the practicing a concrete direction and motivate working on.
Due to the processing method of this series, I always have 200-300 uncompleted works in my studio on top of the finished ones (during the painting season even more) either almost ready, half-finished, waiting for the hanging solution or -pair, which already might have a strong one side weight or some else steady hanging plan.

Sometimes a strong uncompleted piece waits the final word about wheather it wants to stand alone, will it need a pas-par-tout or glass framing, or a compatible group around it.

Sometimes a piece can be that strong, some pair that significant, or some triptych wants to stay together, or sometimes one piece alone or several pieces together start to grow in such manner, that I can build a whole installation on this by working on new pieces around the originals, and form a new entirety.
If you are interested in any particular painting or paintings here on my webpages that are not for sale in TAIKO, and are not marked here on my homepage as already being in a collection, do e-mail me and ask me to upload that work for sale in TAIKO or Saatchi Art. The Finnish online art selling endeavour TAIKO will be shipping worldwide beginning in autumn 2018.

I will respond if I feel comfortable with selling that work at all and if the upload is possible. My contact information is here.

Suomessa teoksia voi aina ostaa myös suoraan taiteilijalta.  Sovi työhuonevierailusta teokset nähdäksesi. Tuntuma, pintastruktuuri ja värisävyjen elävyys valaistuksen vaihtuessa tulee esiin vain suorassa kontaktissa. Nettisivuilla ja nettikaupoissa on aina nähtävillä vain valokuvia kuvista - eli julisteita.

Joitakin kotisivuillani näkyviä ja vapaasti varastossani olevia teoksia voin pyynnöstä toimittaa myös Bizarreen ja ladata nettimyyntiin tai julistemyyntiin.
posters  Fine Art America / Pixels
originals  Saatchi Art  |  Bizarre  |  TAIKO
Taiteilijat 1/2005 with # 104 on the cover
Taidemaalaus 1/2011 Magazine about Painting - Finnish Painters' Union
- just realized ... - 30 -| OPTO |
|    Agnes Martin    |
20.12.2012 3 A.M.
... tunsi kummaa leiskuntaa
[    sol-ipsistisuudesta    ]
[    itse m ä ä r ä ä     ]
[    Artist of the Week : Tiina Holli   ]
[    Jalat maassa  -  Feet on the ground    ]
[    neliöin näyttöä    ]
[    of interest :  how well do you see color ?    ]
[    opened OPTO    ]
[    helmikuun taiteilijat    ]
[    Cable Factory delivered once again    ]
[    Cable Factory 2018 delivered    ]
[    hassu marinoitu    ]
[    still trying to catch transition    ]
[    last train to central & that's it i quit    ]
blog : drawing / day 8118 - 81118 piirros / pv
piirros/pv 8118 - 81118 - 087
|    Andra Vișan : Mayan Calendar Explained    |
[    covering latest OPTO news    ]
2019-02-14 NOW Pizzaneliöt - Pizza Squares
NEW series 444€ !?! oh but wait - nope ... No yes ! Yes, I think it's okay. (For now.)
2019-02-14 I launched a new subseries Pizzaneliöt - Pizza Squares and in Instagram @tiina.holli_pizzaneliöt with numbering beginning from 1, abstract/semi-abstract paintings with acrylic and pencil on about 26 x 26 cm frozen pizza box cardboards straight from the source.

The point is to leave the works as they are without any framing or such polishing, to keep them available for touch, maybe on/off on the wall and as collecting items in the drawer.

The price is 444€ /work. Yes really, even though some of the new works might be 2-, 3- or even 4-sided, so I am yet to figure out this aspect. (To stay consistent, the price of course would be 4444 € soon.)

3 works (numeros 2,3,4) were for sale in The Megalomaniac Sales Event 2019 of Finnish Painters' Union in March 2019 in Helsinki.
In instagram @tiina.holli_pizzaneliöt   
# 112 OPTO1 | # 121 OPTO3 | # 282 OPTO2 | # 282 OPTO4 | # 116 OPTO5, 2013  from the series OPTO, 2013 - from the series  " 4 x 28 = 107 ", 2002 - [ ongoing ]
acrylic on frozen pizza cardboard box, 25 x 25 cm ( OPTO1 24 x 24 cm )  # 112 OPTO1 in private collection art & photo © 2013 Tiina Hölli
[    of interest :  how well do you see color ?    ]
[    opened OPTO    ]
- just realized ... - 30 -| OPTO |
[    Cable Factory delivered once again    ]
From my studio journal 
TAIKO goes international and starts shipping worldwide in autumn 2018. Adviced to do so, starting 2018-03-30 I added closeups of the 6 paintings that are for sale in my TAIKO-profile. This kind of startled me.

To me, that ment objectifying those 6 squares to things to buy instead of them being part of the absurd structure I am making. I had to ponder on this for 6 months to be okay with it. I already had my doubts about the tactility of the works not conveyed thru net, and some other issues, so that is why am not frivolously letting more and more squares out. I am all the time pondering which other not yet public series to throw out there instead. But I am too ... hmm.

I was also advised to change my profile image to a sharp dressed smiling personality because those get more clicks and sell better. Yes I know. Who cares about trivia like the mystery of art(ists) anymore. Maybe in some other parallel reality not here. But here is where I draw the line. Close-ups of the backside of my paintings, okay, but close-ups of my backside ? (nope.) But hey. My sacred, secret & divine concept can take also this twist. I am very confident about my own absurdity trallalaa.  https://youtu.be/aSpkaBeZckY

Because of the delicate holistic nature of this series, I am not responding well to any guidelines given to me about how to deal with these works in any context - how to do my art, in other words, that is. That is why it is questionable if I should put these works publicly for sale at all, and also thus keep the rest of the original collection as a whole. 
I am questioning the whole idea to be in there, one of the smileys selling their spirit expressions with themselves as forced to be egos -  and I am aware I am not the only one to question so. My whole concept with this series has changed so much in the past 16 years working on it, I am fragile strong in it.

2018-10-23 seems that Venus in Retrograte is as strong as it is ment to be. This Venusian span of 8 years has twirled my ethical ponderings right back to year 2010. On top of it, the 18 years' cycle of Lunar Nodes brings me right back to the fall of 2000, and the opposite period is again smack in the middle 2009-2010. How many times have we all repeated this, and each time for nothing ? SML❤ - hang on in there.
Chill. This also shall pass.
Remember your mission.  
But how could I still enjoy fully painting, after awareness of microplastic ? We all on this planet are using plastic in all possible walks of life  - artists for example wrapping the works for transportation.

On the other hand, my original concept particularly includes pondering issues like this - art-related methodological, ethical, practical and philosophical questions, all deeply emotional, purely aesthetical and rationally technical issues - and learning from these dilemmas, learning about myself, and myself as something peculiar called an artist.
 In addition to this, 2018-11-03 I am strongly adviced (by hiding my profile until I obey) to conform to the once again new rules : I did download requested additional information as one of the first to do so immediately as adviced, but now I am requested to  take it down, because there is too much information in my profile. C'est la vie - I anticipated this would occur as there's no end to it when it once begins, it seems. Life is such a great mystery.

I am not comfortable with selling these works at all. It comes upfront all the time, and stronger. I cannot align myself if in denial of such a strong inner resistance.

Ethically the right thing to do is to always be truthful to oneself, and brutally honest in one's art. Conforming is not honest. At all. I cannot go on like this. It feels wrong. I feel I am being pushed to something wrong. So I am solving the situation by fixing the profile somewhat as demanded to get it back visible. As an advice to you : Buy first the works that already are on sale, and then we will talk if I feel okay to put more for sale from this original series.

But ! Solution !

I am painting new ones as we speak !

All the time I am. How about this !

Ask for new ones !

This is the best way to go. Pheeeew !

Thnx U !
Some subseries of " 4 x 28 = 107 " :
Tiina Hölli's debut solo exhibition in Helsinki " 20.12.2012 "  in Galleria Johan S. Helsinki 2005 presented as an installation a compilation of 56 works from series " 4 x 28 = 107 " , 2002 - [ ongoing ] size 100 x 400 cm, single work 24 x 24 cm. On windowsill were several miniature versions of painting # 129, original paintings on MDF-board. Photographer Juha Kärkkäinen in November 2005 | art & photo © 2005 Tiina Hölli.
How are paintings measured by 4-sided -rule - The first basic step - Test it yourself :
  1. click randomly on one of the 4 images below
  2. then serial click the arrow on each image - click click click click -
  3. would you accept all 4 images as 4 independent art works ?
  4. would you name each one of them individually ?
  5. which one do you prefer ?
# 63, 2002,  acrylic on  frozen pizza cardboard box mounted on 1 cm MDF-board 24 x 24 cm photo Jukka Klemetti | art & photo © 2002-2004 Tiina Höllii - Original is for sale in TAIKO
" Hohto " # 45, 2005  |  # 97, 2002, acrylic on frozen pizza cardboard box mounted on 1 cm MDF-board each 24 x 24 cm
# 45 in private collection of visual artist Riikka Niittonen | # 97 is available for purchase - ask me - art & photo © 2002-2016 Tiina Hölli
[    neliöin näyttöä    ]

# 161, 162, 163 in series Jalat maassa | Feet on the ground 1 - 3 / 3, 2005 acrylic on cardboard, 3 pieces, each 24 x 24 cm, as triptych approximately 24 x 72 cm
# 163 in private collection - art & photo © 2005 Tiina Hölli
this triptych work has been on display in Finland in several exhibitions
 [    Jalat maassa  -  Feet on the ground    ]

# 99 Venice Pillars, 2005, restored 2017 acrylic on frozen pizza cardboard box mounted on 1 cm thick MDF-board, 24 x 24 x 1 cm art & photo © 2005 - 2017 Tiina Hölli
this work has been on display in Finland in the following exhibitions :
Galleria Johan S. Helsinki 2005 Salon Taidelainaamo Salo 2008 Merigalleria Mathildan Marina 2017
note :  this is a 4-sided painting with 4 hanging wires in the back, painting's price 2017 was 800 € - will check the color of the photo .....
[    hassu marinoitu    ]
Tiina Hölli :  list of ongoing exhibitions



Original works and fine art prints of original works
by Tiina Hölli for sale - shipping worldwide :
Fine Art Americ/Pixels | Saatchi Art | Bizarre | TAIKO
# 13 Hassu, 2002 - 2005,
restored 2017 from the series Sea of Love, 2017 from the series  " 4 x 28 = 107 ", 2002 - [ ongoing ]
acrylic on frozen pizza cardboard box mounted on 1 cm thick MDF-board, 24 x 24 x 1 cm 
art & photo © 2005 - 2017 Tiina Hölli
Merigalleria Mathildan Marinassa - Salon Taiteilijaseuran myyntinäyttely 30.04.-30.08.2017
poster
Perniönseudun Lehti 2017-06-01 :  Mathildan Marinasta saa myös silmanruokaa
# 130, 2005 - 2018 from the series  " 4 x 28 = 107 ", 2002 - [ ongoing ]
acrylic on frozen pizza cardboard box 25 x 25 cm
art & photo © 2005 - 2018 Tiina Hölli

During the spring 2018 (once again) a challenge to get true colors in photos. In my blog post about # 130 I am telling the story of how I tryed to get the colors right in the original jpg and paperprints ...  once again ... Guess which oneof these is closest to the original painting !
 piirros/pv 8118 - 81118 - 087  2018-04-04
 [    neon pinky thingy problemo # 130    ]  2018-04-04
# 166 Pizzaneliö 22 Tuulinen päivä 2 - Pizza Square 22  Windy day 2 OPTO9, 2019
 acrylic on frozen pizza cardboard box, 25 x 25 cm - painted over Tuulinen päivä 1 - Windy day 1
art & photo © 2019 Tiina Hölli



2019-03-16  A I R  B O R N E  [    covering latest OPTO news    ]
Reserved space here for some absolutely magical remarkable significant explanation by me of everything possible and more - soon available here (or later). Hold your breath. For esthetical reasons, for now I am scribbling here something trivial so that the gap between photos below and above is wide enough and all looks neat. So here it goes : something trivial. I am in the illusion that someone reads these sometimes - so - here will appear some more brilliant text by moi at some point when i feel brilliant again.
                                                                               still trying