In her work as an artist, Carola Björk largely focuses on everyday life and the existential questions that accompany it. Although Tabula Rasa – the piece she is exhibiting in Võru – also touches upon these subjects, we cannot really sense in it the kinds of reflections of the self that are usually associated with existential problems.
In Võru, Björk places a blank canvas on the building at 10 Vabaduse Street, which essentially acts as a sensitive surface and allows the artist to construct an alternative method for visual documentation. During the three weeks of the exhibition the movements and motions of the city are captured on the canvas.
What is interesting is the city’s role in all of this. Is Võru the recorder or the one being recorded? Should we imagine Võru as a painter completing another one of her expressive masterpieces or as a model simply posing on a couch?