Wedged between suits of Samurai armour and Inuit all-weather gear, Home Gods isn’t exactly the Royal Albert Memorial Museum’s largest exhibit. What it is, however, is an intriguing glimpse at both spirituality and folklore, through the medium of reclaimed scrap material. a niche subject, perhaps, but one ultimately well worth taking the time to examine – whatever you’re level of expertise in Finnish folklore.
The work of Finnish artist Tatu Nikkannen, Home Gods has its roots in Finnish pre-christian folklore, and focuses upon interpreting both nature spirits, the Haltija, which were said to stand guard over all aspects of the natural world, and their domestic counterparts the Kojitumalat, who presided over the wellbeing of the home. These were represented in early Finnish belief by carvings and figurines which, on certain days, would be offered gifts in the hope of receiving prosperity in return. Intrinsic within the country’s spirituality for centuries, the legacy of the Kojitumalat still looms large thanks to work in preserving Finnish oral history over the last century.
Taking from a purely aesthetical perspective, the collection of carvings and statues on display in the RAMM’s simplistic glass cabinet is diverse. From the long-faced and leering ‘big head’ to the perpetual, glass-beaded stair of ‘cat lady,’ the figures are eclectically striking in their peculiar facial features and bold expressions. The eerie ‘iron man’ is a particular standout: swathed in black, with only the shadow of his jaw visible beneath his cowl, he stands in marked contrast to some of his more vibrant brethren.
This exhibit, however, strives to be more than a mere collection of replica Kojitumalat – though even viewed as such, the figurines are engrossing enough to hold one’s interest. Nikkanen’s works possess their own unique stories and creation anecdotes through which – we are told – they transcend their origins as pieces of reclaimed scrap and become themselves manifestations of the Kojitumalat themselves: home gods for a new age. In this regard the exhibit is comprehensive, including even the tools used to craft the figurines, which were themselves suitably ordained for the task.
This premise is what makes Home Gods so interesting, rather than simple appearances: the stories that accompany the figures are a captivatingly bizarre mix of varied origins and the trials of their individual creations. Many have their own anecdotes: the ‘red guy’, who was stained by burial in a hilltop rabbit warren; the ‘bear’s former existence as a kitchen worktop; ‘Big Head’s ties to a tree that still stands upon Dartmoor. It is through these tales the figurines are imbued, so we are told, with the spirit of the Kojitumalat. My only wish is that more space could have been lavished on the telling of these artistic tales, as not every figurine is gifted with so detailed a history as those recounted above.
Alongside the Finnish Kojitumalat, Home Gods also incorporates a number of corresponding objects from spirit-cultures from across the globe. While it is easy to appreciate the historic comparison being drawn by their inclusion, it nevertheless feels a little forced: where Nikkannen’s figurines are divergent but retain a central unity, the collection of Burmese spirit houses and Nicobar scare devils that accompany them feel somehow unnecessary. Certainly, they are interesting in their own right, but would perhaps be better served by being exhibited as part of the museum’s already comprehensive world cultures collection than tacked along here.
But this is something of a superfluous concern. Home Gods is an excellent little exhibition, and well worth a visit. It is, I feel, best viewed as part of the RAMM’s general collections: an intriguing aside to their already impressive exhibits, and a free one at that.
Alex Payne
exeposedev 