Helsinki, Finland, 1990

“The works of Grönlund-Nisunen often take place somewhere in between the static and the temporal. This is one way of saying that their practice participates in the move from sculpture towards poetry. And by poetry I mean – let us be clear about this – that Grönlund-Nisunen’s work are nothing less that depictions of actions in time, actions presupposing changes. It is really these changes that many of their works consist of and are about. Mentioning people like Hertz and the Curries in this context suggests a further historical comparison, namely that between laboratory and studio. This is not to say, however, that works of art have to be seen as analogous to works of science. Rather, that there are similarities in the work involved in any form of experimentation. Artists’ studies of temporal phenomena, say, waves or a glow, often focus on a particular way of showing, not explaining. Thus, art like Grönlund-Nisunen’s illustrates temporality as if through a subjective arrangement, so that each process or discovery is actualized only through a specific installation”

“Jyki Siukonen, “the Poetic of Line, Field and Circle”, 2009