Eija liisa ahtila biography of rory

Eija-Liisa Ahtila is a contemporary visual artist and filmmaker.

About Eija-Liisa Ahtila Eija-Liisa Ahtila (born 1959 in Hämeenlinna, Finland) is a contemporary visual artist and filmmaker who lives and works.

Signed and numbered Eija-Liisa Ahtila "Hour of Prayer ”cd, 2005.

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Admission to the exhibition is included in a ticket to Kew Gardens. Pre-booking online offers the best value visit.

For more information or images, please contact the Press Office at pr@kew.org.

Image credits: Horizontal. © Koen de Waal / Crystal Eye. Courtesy of Marian Goodman Gallery, New York, Paris, London | Pinus Sylvestris © Margaret Booker

Notes to Editors

About the Royal Botanic Gardens, Kew
The Royal Botanic Gardens, Kew is a world-famous scientific organisation, internationally respected for its outstanding collections and scientific expertise in plant and fungal diversity, conservation, and sustainable development in the UK and around the globe. Kew’s scientists and partners lead the way in the fight against biodiversity loss and finding nature-based solutions to the climate crisis, aided by five key scientific priorities outlined in Kew’s Science Strategy 2021-2025. Kew Gardens is also a major international and top London visitor attraction. Kew’s 132 hectares of historic, landscaped gardens, and Wakehurst, Kew’s Wild Botanic Garden and ‘living laboratory’, attract over 2.5 million visits every year. Kew Gardens was made a UNESCO World Heritage Site in July 2003 and celebrated its 260th anniversary in 2019. Wakehurst is home to the Millenniu

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“[Environmental Video: Hiroko Okada, Tabaimo and Eija-Liisa Ahtila].”

NORTH BAY, ONTARIO

Judy Martin works in the most traditional vein here, that of the pieced quilt. This medium carries a heavy load of baggage, the bulk of it regarding traditional expectations of a woman's societal place. So it's no real surprise that Martin's work goes directly to the heart of the matter. When Asked: She Replied (1999) foregrounds function and purpose as Martin redundantly uses a thick wool blanket as her quilt's backing. Roughly outlined squares and rectangles each contain the simple shape of a heart, the bilateral symmetry of which is cleft by a row of buttons. Beneath it all, textual element (a recurring motif in Martin's work) reads, "When asked how she managed to have children and make art .... she replied: 'What's the difference?"' In Between the Leading Note and the Tonic (1999), a quilt is gridded with the recurring image of a simple clapboard house. Images of trees with button leaves reiterate the suggestively cozy domesticity of the motif, and wavy lines of embroidery thread-perhaps the music alluded to in the work's title-emanating from each of the houses subtly underscore the idea of familial harmony within which quilts have long b

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