Visual artist; paintings, graphics, tectons,
videos and mixed media works

Lives and works in Tampere, Finland


Soraharjunkatu 2 A
33270 Tampere, Finland

Kalkku Kunsthalle
Kalkun viertotie 2 C 9
33330 Tampere, Finland

+ 358-400 628 828



Born in Tampere, Finland
First works exhibited
Graduated from the Lahti Art School, painter, City of Lahti, Finland
A member of the Association of Finnish Printmakers, Finland
A member of the Finnish Painters' Union, Finland
Teacher of painting and serigraphy in the Kankaanpää Art School, Kankaanpää, Finland
Director of the Kankaanpää Art School, Kankaanpää, Finland
Chairman of the Tampere Artists' Association, Finland
Director of the Art Department in the Tampere School of Art and Media, Tampere, Finland
Prize in The International Mini Print, Cadaques, Spain
Third prize in the 10th European Biennial Competition for Graphic Art, Brügge, Belgium
Prize in the 3nd International Biennale of Graphic Digital Arts – Gdynia, Poland


Galleria G12 Helsinki, Helsinki
Galleria Saskia, Tampere
"I.X.", Tampere Hall, Winter Garden, Tampere
"spatial functions", Alvar Aalto - Museum, Gallery, Jyväskylä
Galleria Joella, Turku
"Hommage á Nordgren", Tampere Hall, Winter Garden, Tampere
"LX", Mältinranta Art Center, Tampere
Varkaus Art Museum, Varkaus
"Tempo", Tampere Hall, Winter Garden, Tampere
Willa Mac, Finnish Modern Art Museum, Tampere, Finland
Werstas, Central Museum of Labour in Finland, Tampere
Art Salon Husa, Tampere
Gallery Uusitalo, Helsinki
"...evol...", Bang&Olufsen Gallery, Tampere, (L. Holmström, S. Syrjänen)
Gallery G, Helsinki
Photographic Centre Nykyaika, Tampere


"Atelier – Ausstellung", Künstlerhaus Schloss Wiepersdorf, Germany
Galleri Kronan, (L. Holmström, S. Syrjänen), Norrköping, Sweden
Kim Nae Hyun Art Gallery, Kuyngki-Do, Seoul, Korea


7th International Print Triennale Colour in Graphic Art, Torun, Poland
International Print Exhibition Yunnan 2012, Kunming City, China
3nd International Biennale of Graphic Digital Arts – Gdynia, Poland
ART EDITION 2011, Seoul International Art Fair, Seoul, Korea
8th Kochi International Triennial Exhibition of Prints, Kochi, Japan
Interbifep XIV, International Biennial Festival of Portrait, Tuzla, Bosnia and Herzegovina
2nd International Biennale of Graphic Digital Arts – Gdynia, Poland
12th European Biennial Competition for Graphic Art, Brügge, Belgium
SIPA 2009, Seoul International Print Art Fair, Seoul, Korea
6th International Print Triennale Colour in Graphic Art, Torun, Poland
7th British International Miniature Print Exhibition, London, UK
International Print Exhibition Yunnan 2008, Kunming City, China
BIMPE V, 5th Biennial International Miniature Print Exhibition, Vancouver, Canada
International Art Exhibition, "Nord Art 2008", Büdelsdorf, Germany
Naestved International Exhibition of Contemporary Mini Square Prints, Naestved, Denmark
Gyeongnam International Art Festival 2007, Gyeong Nam State Museum, Masan, Korea
International Art Exhibition, "Nord Art 2007", Büdelsdorf, Germany
5th International Print Triennale Colour in Graphic Art: Now! Torun, Poland
6th British International Miniature Print Exhibition, Dumfries, UK
International Art Exhibition, "Nord Art 2006", Büdelsdorf, Germany
Kochi International Triennial Exhibition of Prints, Kochi, Japan
International Art Exhibition, Nord Art 2005, "Art of Mystery", Büdelsdorf, Germany
Corpus05 – European Biennal for Graphic Art, Brügge, Belgium
13th Tallinn Print Triennial, Tallinn, Estonia
7th Edition of "Premio Citta´ di Laives-2004, Laives, Italy
10th Seoul Print Art Fair, Seoul Arts Center, Seoul, Korea
International Print Exhibition, Horst Janssen Museum, Oldenburg, Germany
4th International Print Triennale, "Colour in Graphic Art", Torun, Poland
International Print Triennial, Krakow 2003, Cracow, Poland
"European Culture Integration Bridge", Lavra Gallery, Kiev, Ukraina
"Intergrafia - 2000", Torun City Museum, Torun, Poland
12th Baghdad International Festival for Photographic Pictures, Baghdad, Iraq
International Contemporary Print Arts Exhibition, Sungsan Art Hall, Changwon, South Korea
The 12th Space International Print Biennial, Sungkok Museum, Seoul, South Korea
"Triennial Continents", Ksiaz Castle Gallery, Wabrzych, Poland
Triennial 100 Cities Kartuzy 2001, Refektarz Gallery, Poland
Triennial 100 Cities Suwalki 2001, Art and Culture Regional Center, Poland
"The European Contemporary Prints", Kim Nae Hyun Art Gallery, Goyang-city, South Korea
International Print Exhibition, "Colour in Graphic Art", Torun, Poland
International Print Triennial, Krakow 2000, "Bridge to the Future", Cracow, Poland
"Intergrafia - 2000", World Awards Winners Gallery, Katowice, Poland
International Print Triennial, Krakow 2000, Nürnberg, Germany


3. KurzfilmForum–Kreuzberg, Berlin, Saksa
"Awards Winners", Micromundi, Museu de Miniatures i Microminiatures, Besalu, Espanja
Festivals Ûbereck-Art 2011, Kurzfilm-Forum, Berlin, Germany
"Salonausstellung", Künstlerhaus Schloss Wiepersdorf, Wiepersdorf, Germany
"love without boundaries", Gallerie kritiku, Prague, Czech Republic
"CHEM-Gruppe", (10 artists from Tampere) New Saxon Gallery, Chemnitz, Germany
"OM", (J. Arffman, L. Holmström, P. Nuutinen, M. Pirilä), Gallery Caesar, Olomouc, Czech Republic
"Fragile", Nordiska Konstförbundet, Konstnärshuset, Stockholm, Sweden
Contemporary Finnish Graphic Art, NordicHouse Gallery, Cracow, Poland
"koemieskoe", (L. Holmström, R. Mörö, H. Riskula), Tartu Art Museum, Tartu, Estonia


In Finland:
The State of Finland
The Collections of The Parliament House of Finland, Helsinki
Kiasma, Modern Art Museum, Helsinki
Amos Anderson Art Museum, Helsinki
Helsinki City Art Museum, Helsinki
Sara Hildén Art Museum, Tampere
Tampere Art Museum, Tampere
Tampere Contemporary Art Museum, Tampere
Wäinö Aaltonen Art Museum, Turku
Turku Art Museum, Turku
Hämeenlinna Art Museum, Hämeenlinna
Alvar Aalto Museum, Jyväskylä
Aine Art Museum, Tornio
Joensuu Art Museum, Joensuu
Pori Art Museum, Pori
Varkaus Art Museum, Varkaus
Kerava Art Museum, Kerava
Kouvola Art Museum, Kouvola
Kuopio Art Museum, Kuopio
MAC, Modern Art Collection, Tampere

Katrineholms kommun, Sweden
Laivesin kunta, Italy
Research Archives of The Graphic Workshop Naestved, Tanska
Americas Biennial Exhibition, Reseach Archives, USA
Van Damme Collection, Belgium
International Portrait Gallery, Tuzla, Bosnia and Herzogovina
Art Edition, Soul, South-Korea
Nordiska Akvarellmuseet, Skärhamn, Sweden
Capo Frio Empragel, Rio de Janeiro, Brazil
Howard Miller Collection, USA
Matti Milius Collection, Tartu, Estonia
Västerbottens läns landsting, Sweden
City of Linköpingin, Linköping, Sweden
Landstinget Västernorrland, Sweden
Kanagawa Arts Foundation, Kanagawa, Japan
Arvika Art Museum, Arvika, Sweden
Tartu Art Museum, Tartu, Estonia


"J", iron construction / relief, Junttan, Kuopio, Finland
"Dynamis", relief painting / sculpture, Foster Wheeler Energy, Varkaus, Finland


Kosmos + Sarkophagos


In his essay In Praise of Shadows Japanese author Junichiro Tanizaki contemplates visible and shrouded beauty. He writes: “The unseen for us does not exist”. For Tanizaki shadows that dim the light and blur the contours have their own special quality. They allow the ones in the shadow to remain there and retain their inherent beauty. An artwork contains a hidden quality, an essence withdrawn in shadows, and it must be accepted as such. The intentions of an artist do not necessarily, if ever, meet with the expectations of a viewer. It is not even important, if we deny the existence of the invisible, as Tanizaki does. It is difficult to empty an artwork of its meaning and contents, its position and relation to the traditions of art as well as to its social existence. Everything being connected to everything else calls for the exposure of all these connections. Nevertheless, each artwork contains the unseen, which does not exist for us, unless it is handed to us in interpretations, analyses and theoretic concepts. When Lars Holmström, painter and graphic artist, names one of his artworks Sarkofagos (2009), the viewer must believe that the name bears a meaning and that the medium, the work itself, carries a message. None the less, there remains also the invisible in the work, something that does not exist for us. Holmström does us a favour by interpreting his work. The initial impulse came from a Chinese aphorism: “The best gift for a 60-year-old man is a coffin.” He found it in an exhibition in Museum Centre Vapriikki in Tampere and realized that soon he himself would turn 60. Sarkofagos is both a constructivist artwork and an object suitable for mass production. He has used his own measurements to make it a fathom long (about 183 cm) and wide enough to fit a person, but from inside it is barely spacious enough to hold a corpse. The rectangular object is open from both ends in order to facilitate the placement of a corpse and to secure its tight closure. The surface of Sarkofagos has a two-layered structure, and it has been painted with black and grey metallic paints. Energetic colour areas of white and empire red radiate from the depths. Mirror image of the viewer is reflected from the metal bolts on the surface.

It is permitted to laugh at Death.

Sarkofagos, however, is not merely an object with an imaginable practical function. It is also an artwork, in which culminate the various stages of development and change in Lars Holmström´s expression. After he refined his style under Concrete art and Constructivism he has gradually detached himself from the geometric lyrics of his paintings and serigraphies. He has moved towards three-dimensional, sculptural pieces, the plasticity of which is completely different from the surface-bound, three-dimensionally unfolding paintings and prints.

The work XXIII from 2006 is a relief painting, which already demonstrates the spatial and material solutions brought further in Sarkofagos. The work is massive but light. By its structure it reminds us of an old elementary school handicraft where you pass lengths of material over and under one another. In XXIII the passing is done with solid vertical masses and thin horizontal arrow-like rods. Although the work may bring to mind school memories from decades back, it does not mean that they are visible or perceivable by everybody. They are associations demonstrating how the recipient may confront the work and enable the unseen to exist. Tying the work in with the viewer´s, i.e. interpreter´s own history does not make it more ”real” than when it is allowed to be a physical object an sich, without any connotation.

Lars Holmström is known as a consistent serigrapher with a clearly recognizable expression.

Digital technology and new means of image processing have opened new dimensions for him to do his graphic work. He has named his recent prints digital graphics. In his works he has used various graphics programs and three different methods. Constructivist works follow the line of his serigraphies. At the moment, synthetic methods combining originals and photographs offer him the most interesting options. They open up the best means of expressing various visual goals.

The three works in Ritualis G –series demonstrate how rich is the outcome achieved by this method. The starting point of each work has been a commonplace object, which has been scanned onto a computer screen, a kind of an operating table. He then has played the part of a surgeon or an instrument nurse and cultivated his materials further. Tools and incisions are carefully deliberated and the result is surprisingly aesthetic. Although the works in the Ritualis-series do not intentionally seek to create optical illusions, they still open up fascinating depth dimensions for a focused viewer.

The series of digital graphics called C from 2004 appear to be a logical follow-up for his strictly geometric serigraphies. The works test the eyes of the viewer. They act as stereoscopic pictures, where movements of the eyes make three-dimensional forms pop into view. Forms can emerge towards the viewer or recede into the background. The works in C-series test the recipient´s stereoscopic vision, the very image how the work is perceived. With these particular works Tanizaki´s sentence becomes true: the unseen for us does not exist.

But supposing the viewer actually sees what does not exist?

It results in a genuine heureka experience, the one that reveals the deep, gratifying force of the art itself.

Maila-Katriina Tuominen
Journalist, Culture and Human rights
Tampere, May 2009

— Junichiro Tanizaki: Inei raisan (1933-34),
Translated in English by Thomas J. Harper and
Edward G. Seidensticker: In Praise of Shadows (1977),
Translated in Finnish by Jyrki Siukonen:
Varjojen ylistys, Taide Publishers, Helsinki 1997
— Eduard Klopfenstein: Lob des Schatten
— Julia Escobar: El elogio de la sombra


Updated 15.08.2013