1960s was a turbulent decade with political tensions between “East” and “West.” The threat of nuclear disaster was real. There was The Bay of Pigs Invasion, Congo Crisis, Vietman War, Europe’s Crazy Year 1968 and Nuclear Weapon States tested actively their bombs. Television brought all this and much more into the living rooms. My father was keen newscast watcher and reader of newspapers. He followed actively what was happening all over the world. And he grew worried about the possibility that mankind might end up to destroy this planet because of pointless warmongering.
So he begun to do pictures of holocaust, visions of possible outcome, prints of the terminal state of human race. At first his etchings were kind of “situation after the bomb” images. Then at 70s his worrying produced nature conservation topics, but later “The War” came also back to his views. These works are completely different ones than his nature romanticism, like sunflower compositions. These are like warning signs whose purpose is functional: Don’t follow this road of madness, otherwise, this is what’s going to happen.
Pro Humanitate (Pro humanitate), etching 1966
Illuminated Arctic (Valaistu arktis), etching 1966
The Totaliter (Totaliter), etching 1969
This is a sketch for The Totaliter print. His preliminary drawings were quite often very small ones like this one – only 6x7cm. (Tussiluonnos edelliseen, koko on vain parin tulitikkulaatikon verran), ink 1969.
House by house (Talo talolta), etching 1969
The Dump Islands (Kaatosaaret), etching 1973
The Requiem (Requiem), etching 1994
Post Festum (Post festum), small size etching 1986
Homo Ludens (Homo ludens), small size etching 1986