As a lover of paintings incorporating bold figure and narrative, I was excited to see Anja Salonen’s new series for her show “Lagomorph Labyrinth” at Sade Gallery. Salonen’s work tends to merge conventional figurative form with the unexpected, resulting in delightfully eccentric visuals; her new body of work for was no exception.

Passage through the gallery door marked entrance into another dimension of Salonen’s production, which mirrored a “Garden of Eden” of sorts. As I ducked under some vines hanging from the ceiling, I turned into the space where her paintings defied the standard of merely hanging on walls. Instead, works were stacked, positioned on the floor and hung at unconventional angles. In some cases, the paintings served as sculptural obstacles, forming barriers and becoming walls themselves. Viewers we were forced to snake through and circle around the works to see the whole picture. Accompanied by the suspended vines, painted tapestries and images of potted plants on the walls, we were integrated into the very construction of the show.

Salonen’s unique installation brought us into the personal narrative she so whimsically illustrated. Through contemporary images depicting friends coupled with medieval aesthetics such as fanciful borders, mirrors, columns and jeweled crowns, she links past and present. Some paintings even seemed to serve as chessboards with sculptural pieces strategically placed on top, ready for their next move. Another “painting” was a bench, suspended from the ceiling in the center of the gallery depicting bunnies and a blue-clouded sky. A sculptural figurine of a bunny sat poised on top, as if beckoning us to join her on the swing. In one corner, a glass orb containing a mirror sculpture sat on a classical Ionic Column. The show was full of mystical symbolism, while maintaining extreme intimacy tied to Salonen as well.

This mysticism was apparent as the artist was adjourned in whimsical purple and green hues as if she always existed in this world she had created. As Salonen talked about the importance of the symbolism of the bunny serving as an avatar to guide the viewer, I couldn’t help but notice a tattoo of green vines snaking from her fingers to her arm. Upon my mention of it, she proudly displayed her inked coordination with the show, explaining she received the tattoo while in the space of the gallery once she had transformed it into her alternate dimension.

Salonen’s redefining of classical curation allowed insight into the labyrinth of her mind, while still allowing for personal narration and projection. The show’s entirety was reminiscent of an interactive game board. One which Salonen so generously invites us to explore, reflect, play and celebrate in the confusion and beauty of life’s next turn.