Born and raised in Finland, Lappi earned a Bachelor’s degree in Fine Arts in The Netherlands and currently lives and works on the cusp of Brooklyn and Queens. Lappi is interested in observing and examining how architecture and spatial environments influence our perceptions and affect reality; in particular, her focus is on the experience and emotional charge of different places and the fluid boundaries between reality and fiction. Her sculptural practice explores the relationship between physical spaces, man-made structures, and the human mind - the psychogeography of places. In her projects, Lappi aims to trigger a sense of bewilderment, uncertainty, and mystery by fabricating unexpected situations, shifting meaning and the viewer’s point of view to open a new sensitivity to our surroundings. Important themes within her work include historical memories, decay and destruction, and emotions such as loneliness and yearning, all of which are explored in the below interview with the artist herself.
How do you feel your work represents the message of sustainability and environmental concern?
In my work, I investigate the alienation resulting from the uneasy relationship between the human-made world and nature, as well as the resulting feeling of loss and abandonment, by engaging with the natural context and environmental integrity hidden in urban landscapes. By focusing on the environmental aspects of a place, I bring up important discursive questions of how fine art can help us better understand the roots of our culture and contribute to solving the ecological crisis of our time. I mainly work with architectural sculptures that are both wall mounted and freestanding. The structures are built with layers of wood; I stack and pattern pieces of different types of wood in repeating, abstract shapes by inlaying beveled trim. Almost all of the wood I use is recycled scrap wood from a local wood shop. In my recent works, I have been charring the wood, which creates a deep black, brittle, and slightly reflective surface. The use of materials that are transformed from their original state in a natural way, without harsh chemicals, is essential to my work. Currently I am also studying gilding techniques on a wood surface. This ancient decorative practice goes back to ancient Egypt and is also related to spiritual beliefs and used in many religious practices for centuries. For me, this technique is a continuation of my desire to transform the ordinary into something new, something extraordinary, in an organic way. I also like to combine durable materials, such as shellac and natural pigments. Often, these techniques and materials are more time consuming than modern ways of treating the surface; however, I think we all need to take more responsibility for the environment and use more sustainable materials.
Describe your journey between the realization of your ideas and perception and transforming them into physical artworks.
My working process usually starts with drawings and scale models. For inspiration, I use different architectural and geometric structures and shapes, which are often mixed and blurred in my mind. The final work usually ends up being a sort of puzzle of different architectural elements and repeating abstract shapes. Irregular pentagons, triangles, trapezoids, and circles intersect in ways that give structural integrity to the sculptures while creating a hypnotic visual rhythm.Even though my work is based on real, existing locations and places, the end result is never based on reality. I am also constantly testing interesting and different architectural materials. This is usually a trial-and-error process: most of the time it doesn’t work out how I had planned, but something else might come out of it that’s even more interesting. The most successful works were often born from mistakes.
