sotakirja/ war journal
‘Sotakirja’ (War journal)
an artistic journey about an almost forgotten story
Conducted by Missy S.
The deep roots for this whole art-project are captured around her own personal genealogy: being half Finn and having a Finnish grandfather who was a soldier during the main Finnish 20th century wars: the ‘Talvisota’ (The Winter War, 1939-1940) and the ‘Jatkosota’ (Continuation War, 1941-1944). The man in uniform, known as a picture on the wall hidden in almost silence, is the main focus for this art-project.
As it happens quite often after wars the people born, just before, during or slightly after a war have a too deep, emotional bound with that specific war. Not that we can speak about forgetting, ignoring or neglecting what happened, but most of those people do not tend to be constantly open about what happened.
As it then also happens is that later generations from the people who fought and died in the war, tend to ask questions about the people who gave their lives up for future generations to live in peace and freedom. One of those is Missy S. .
The notion ‘war journal’ can be translated into Finnish in two words: ‘sotapäiväkirja’ and ‘sotakirja’.
‘Sotakirja’ is a war journal in the context of a military archive, where a third party is writing down what occurred to a group and/or an individual, or a historic book.
‘Sotapäiväkirja’ is slightly less objective and used for personal war journals, like a diary.
With holding the war journal from the military archive from her grandfather in her hands, the journey about the story of her grandfather started and the artproject and the picture on the wall became alive.
Although the source of inspiration is a personal, biographical journey, research about her grandfather and his life as a soldier, the whole art series became bigger and wider spread the deeper the research and information go. This has especially to do with the different aspects of war, or life as a soldier. Therefor this art series is split up in two main parts and techniques: the abstract paintings and the mixed media.
On one hand there is the clear part about places, battlefields, platoons and their actions like a documentary.
Those are painted in the technique of the ’propaganda’ illustrations, mixed with different medias (collages, wires, rust, etc.) and transformed into the modern time.
Like the ‘propaganda’ style of painting is used as an authentic element, the different medias are always used as authentic as possible. For these artworks Missy S. is for instance only using real, original pictures, from books, newspapers, magazines or photographs. The abstract painted background is used to represent an emotional, personal aspect and feeling of the given theme.
On the other hand there is the pure expression of abstract feelings about a real person: a loving father or husband, a brother, a son, who was forced by extreme circumstances to survive.
These artworks are not based on showing the soldier as an idolized hero or a fighting machine, but as a human being.
Those paintings are abstract and focussed on emotions soldiers go through: confusion, coping with being isolated or being alone, living with fears and desperation.
Almost all art concerning war is either just showing the horror of it or some glorifying aspects. Shock tactics in war imaginary as consciousness-raising or just mainly for its shock value have the tendency more and more to make the pain and horror as a trivial thing these days. Missy S. deliberately chooses not to walk either one of those paths and it all asks a lot more from the spectator.
Nevertheless there is a certain symbiosis between those two techniques. Because the series are part of an on going and growing process, the stories and the impression elements, which run through both series as a common line, are also in a constant growing and changing process. Although the titles for all artworks are referring to historical facts such as places or dates and are in strict connection to her grandfather’s war journal. All artworks also have a very universal aspect because of the emotional value and elements in each piece.
The emotions and feelings her grandfather had to go through are actually common for all soldiers of all times (past, present and future). What started as a personal journey of her grandfather became a much bigger and deeper aspect of war and is about mankind in general.
Making a one-sentence summary of the whole series could be said as: ‘an artistic journey about an almost forgotten story’.

the destroyed dreams
‘destroyed dreams part 02’
Switzerland (German: die Schweiz, French: la Suisse, Italian: la Svizzera, Romansh: la Svizra), officially the Swiss Confederation, is a federal republic consisting of 26 cantons, with Bern as the seat of the federal authorities. The country is situated in Western Europe where it is bordered by Germany to the north, France to the west, Italy to the south, and Austria and Liechtenstein to the east. The Swiss Confederation has a long history of neutrality—it has not been in a state of war internationally since 1815. Switzerland is home to many international organisations, including the World Economic Forum, the International Olympic Committee, the Red Cross, the World Trade Organization, FIFA, and the second largest UN office.

In short Switzerland is a beautiful, open-minded country…

but women's right to vote in some countries:
*1906 Finnland
*1917 Soviet Union
*1918 Austria
*1919 Germany
*1920 USA
*1928 United Kingdom
*1944 France
*1945 Italy
*1971 Switzerland

*Although women's situation has improved since the 1970s, the constitutional article dealing with equality between the sexes has not been effective in many fields.
*The dominant model of sex roles is traditional, reserving the private sphere for women.
*Around 6 out of 10 women of working age work part time (57%) in Switzerland, compared with 1 in 8 men or 12%.
*In general in Switzerland, women earn 24% less than men.
*Women often have a lower professional status and work in low paid jobs.