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Overlay II

Overlay II

Tufted rugs, plywood, varnish
205 × 60 × 3 cm
2021
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Introduction

Work from a group exhibition ”The Bambi Project“ .

”Why are we safe here?“ he asked. ”Because all the bushes shield us,“ his mother answered, ”and the twigs snap on the shrubs and the dry twigs crackle and give us warning. And last year’s dead leaves lie on the ground and rustle to warn us, and the jays and the magpies keep watch so we can tell from a distance if anybody is coming.“ (Salten, p. 33–34)

Reading Salten’s Bambi, Laura Põld was especially moved by the parts describing the life cycle and purpose of the forest leaves. As they fall from the trees, leaves become a soft carpet that embraces the forest animals and warns them with their rustle of any approaching danger. Salten’s leaves stand for the inevitability of death and birth that intercon-nects all the creatures in the story.

Põld has created a series of rugs with abstract shapes resembling both animal skins as well as dried leaves. The patterns of the carpets are layered and striped, turning and returning to the same place, recalling the layers of matter accumulating on the surface of the earth, a sign of the passing of time and the recurrence of the seasons. Like leaves fallen from a tree, elements from this installation are scattered here and there in the gallery, meeting other artists’ works. Some of the rugs are attached to a plywood board and thus become a supporting or covering element in their own right. Some of the small rugs, however, are soft and flexible, allowing visitors to sit on them and move them around the space.

installation, textile

About the artist

Laura Põld’s practice is focused on exploring the dynamic agency and expressiveness of materials and media. Põld works with a diverse range of materials such as clay, wool, textiles, plants, metal and wood, engaging with them as mediums and active companions. This material-driven approach invites a dialogue between human and more-than-human forces that allows the works to evolve through resistance, transformation and nurturance. Her immersive installations challenge conventional hierarchies between art and craft to reimagine traditional methods and forms of making.

By weaving together the threads of materiality, mythology and language, Põld’s work speaks to the intersections of craft, feminism, ecology and folklore. Põld draws, in particular, on the rich traditions of Estonian runic songs (regilaul) and shamanic motifs, through which she explores the otherworldly and mythical to craft new ways of seeing and understanding the world. Her recent projects also address Estonia’s environmental and industrial legacies, representing a commitment to bridging human culture with ecological consciousness. Through a sensitive interplay of fragility and strength in both materials and themes, she pushes against conventional boundaries, inviting fresh perspectives as she does so.

Laura Põld (b. 1984 in Tallinn, Estonia) is an Estonian artist living in Tallinn and Vienna. Her formal education includes the study of ceramics at the Estonian Academy of Arts (EKA) in Tallinn (BA), painting at the University of Tartu (MA) and sculptural conceptions and ceramics at the University of Art and Design in Linz (MA). She is currently a visiting associate professor of installation and sculpture at EKA.

Põld’s recent exhibitions include Down the Rabbit Hole, MO Museum, Vilnius, Lithuania (2024), Art in the Age of the Anthropocene, Kumu Art Museum, Tallinn, Estonia (2023); Common Threads, Polar Bear and Elephant, Kogo Gallery, Tartu, Estonia (2022/23); ars viva 2022 – Agents of Perception, Kai Centre, Tallinn, Estonia (2022); Walking Talking Minerals, Titanik, Turku, Finland (2021); Doing What They Do Best, Kunstraum Memphis, Linz, Austria (2021); Beings with – the wonder and trouble of togetherness, the Fiskars Village Art and Design Biennale 2019, Fiskars, Finland (2019); Descending from the liquid horizon, Le lieu unique, Nantes, France (2018/19); Hundreds of Illusions Charted as Land, Tartu Art Museum, Tartu, Estonia (2016). Recent art fairs in collaboration with Kogo Gallery include viennacontemporary, Vienna, Austria (2024, 2023); Esther, New York City, US (2024); Basel Social Club, Basel, Switzerland (2024); Art Brussels, Belgium (2023); Liste Art Fair Basel, Basel, Switzerland (2022).

Laura Põld has been awarded several prizes and scholarships, including the Claus Michaletz Preis (2021), the ISCP’s studio grant in New York (2019), the Grand Prize of The Cultural Endowment of Estonia (2018) and the Köler Prize Grand Prix (2016). She is and was also one of the recipients of the Estonian artist’s salary from 2023–2025 and from 2019–2021. 

Põld’s works are in the collection of the Kunstmuseum Bayreuth and the European Central Bank Art Collection, Germany; The Art Collection of the State of Upper Austria and the collection of Gmundner Keramik, Austria; the collections of the Art Museum of Estonia and Tartu Art Museum, Estonia; the Zuzāns Collection and the collections of the VV Foundation and the Rothko Museum, Latvia.

More works by this artist

Installation (steel, tufted rugs, plywood, varnish, paint), 131 × 132 × 132 cm, 2022
Installation (steel, tufted rugs, plywood, varnish, paint), 182 × 229 × 4 cm, 2022
Installation (steel, tufted rugs, plywood, varnish, paint), 115 × 142 × 4 cm, 2022
Tufted rug, rope, felt, 135 × 180 cm, 2022
Tufted rugs, rope, 38 × 68 × 37 cm, 2021
Tufted rugs, plywood, varnish, 205 × 60 × 3 cm, 2021
Tufted rugs, plywood, varnish, 95 × 80 × 90 cm, 2021
Low fire ceramics, 2018
Low fire ceramics, 2018
Cotton, wool, hand-tufted, 190 × 130 cm, 2022
Hand-tufted rug with fringes, 150 × 90 cm, 2022
Sold
Steel, wool, 80 × 60 cm, 2022
Steel, 80 × 60 cm, 2022
Tufted wool, burlap, rope , 280 × 480 cm, 2022–2023
Wool, acrylic, burlap, felt, 110 × 105 × 2 cm, 2023
Wool, acrylic, burlap, felt, 145 × 192 × 2 cm, 2023
Tufted rug, 400 × 90 cm, 2021
Ceramics, 34 × 24 × 2.5 cm, 2020
Sold
Ceramics, 38 × 26,5 × 2.5 cm, 2020
Ceramics, 35 × 23 × 2.5 cm, 2020
Ceramics, 30 × 40 × 2.5 cm, 2020
Ceramics, 31.3 × 21 × 2.5 cm, 2020
Ceramics, 32 × 22 × 2.5 cm, 2020
Sold
Ceramics, 30.2 × 20 × 2.5 cm, 2019
Ceramics, 31 × 22 × 2.5 cm, 2020
Sold
Burlap, tufted wool and acrylic, 70 × 80 cm, 2022
Burlap, tufted wool and acrylic, 105 × 70 cm, 2022
Ceramics, 60 × 30 × 20 cm, 2018
Earthenware ceramics, 24 × 26 × 5 cm, 2018–2019
Earthenware ceramics, 26 × 16 × 5 cm, 2018–2019
Earthenware ceramics, 41 × 30 × 5 cm, 2018–2019
Ceramics, 24 × 35 × 12 cm, 2018–2019
Ceramics, 21 × 33 × 4 cm, 2018–2019
Ceramics, 38 × 31 × 4 cm, 2018–2019
Ceramics, 23 × 33 × 8 cm, 2018–2019
Porcelain, 21 × 19 × 4.5 cm, 2018–2019
Ceramics, 90 × 60 × 65 cm, 2019
Porcelain, 15.5 × 12 × 2 cm, 2018–2019
Ceramics, 40 × 40 × 35 cm, 2019
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Ceramics, 25 × 34 × 30 cm, 2019
Ceramics, 90 × 32 × 30 cm, 2019
Ceramics, 22 × 38 × 33 cm, 2019
Ceramics, porcelain, 50 × 47 × 53 cm, 2019
Steel, paint, ceramics, wool dyed with beet root, cotton yarn, gravel, magnet, 254 × 197 × 32 cm, 2024
Tufting, assamblagee, stitching, 240 × 142 × 5 cm, 2024
Steel, paint, gravel, magnet, 203 × 142 × 4 cm, 2024
Steel, paint, gravel, magnet, 182 × 95 × 4 cm, 2024
Steel, paint, emboidery, gravel, magnet, 200 × 50 × 4 cm, 2024
Steel, paint, ceramics, gravel, magnet, 70 × 50 × 10 cm, 2024
Steel, paint, textile, gravel, magnet, 70 × 50 × 4 cm, 2024
Ceramic sculpture, 42 × 40 × 18 cm, 2024
Sold

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