// interview with Maria Wesander
of Fine Arts in Helsinki. As for DJing, you might have seen her spinning records, for example, at Kaiku or Siltanen. Interestingly, she
doesn’t really consider herself an art collector, yet her expansive collection of art fills every corner of her Helsinki home. She quite
literally surrounds herself with art and music, her two main interests. After reaching out to Maria, I was pleased to have the privilege
to interview her for Young Collectors. In this interview, we’ll learn more about Maria’s journey into collecting art, the stories behind
some of the artworks and how everything found its place in her home.
Young Collectors is a series of interviews published on the ArtPod website and Instagram, conducted by Isabella Chydenius, a member of the ArtPod collective. The
interviews highlight personal stories around art collecting among younger art collectors in Finland, and abroad. Finland (ind. 1917), a relatively young nation consisting mostly of
forest, small villages, and farmers before the 1700s, does not hold a strong cultural history of collecting art in comparison with countries like France or Italy where a culture of
collecting art dates back to the Renaissance (1300s), and before. However, since the 1700s and into the contemporary, there is an ever-developing heritage of Finnish art, and
a multitude of professional Finnish artists and international artists living in Finland, but only small numbers of art collectors. This article series aims to bring forward practical
tools on how to start collecting art, of collecting and having art at home as a means to connect cultural heritage to our everyday life, as well as interesting and inspiring
stories and connections that arise in the process.
Maria Wesander at home in Munkkiniemi, Helsinki in front of a painting by Emma Ainala.
IC: I wouldn’t even know where to start if not from the beginning. Do you remember how and when you were introduced to art, and collecting?
MW: I’ve been interested in art since I was a child, but it started as an interest in design and architecture. We had quite a lot of art and crafts at home when I was young. My maternal grandmother also had many interesting objects at her place, which I believe nourished my interest in art. I bought my first design object at a live auction when I was around 14 years old – a unique glass pitcher by Timo Sarpaneva. At the age of 18, I bought my first artwork – a lithograph by Robert Cottingham, also at an auction. Since then, I’ve bought four artworks at auction houses, but as I’m into contemporary art, I prefer buying art from galleries or directly from the artist.
MW: I counted my works for you haha, so now I know that I currently have 71 artworks. The purchases of the first works I bought were based on an aesthetic connection. However, during the past years, I’ve felt emotionally connected to the artworks I’ve purchased, and often felt touched by deeper sensations and meanings than merely the technical mastery of the artist. Every artwork doesn’t need to have a deep meaning, though. I can buy a work that I primarily perceive as simply fun, witty or beautiful. So yeah, a variety of themes and styles are present in my collection. My collection is not planned but rather based on individual encounters with artworks. It’s shaped through visiting galleries and exhibitions, meeting artists, and moments of seeing artworks that instantly speak to me. The process of buying an artwork is normally quite quick. I usually make the purchase decision in less than 15 minutes. I know immediately when I feel so connected to an artwork that I want it to be part of my life. If I feel that I need to consider it a bit longer and can’t make an instant purchase decision, I know that the bond is not strong enough.
Many people say that you become an art collector once you have more art than your home can fit. Well, I do already fit that description haha. However, I don’t really feel like a collector. I would rather say that I’m a person who really loves art, and who loves art so much that she chooses to buy it before many other things. My art collection reflects me as a person, who I’ve been and who I currently am. When I graduated from university and got a full-time job, I started buying art regularly. Since then, I’ve bought on average four to five artworks per year. I’ve never bought a lot at once, but rather now and then, when I happen to come across a work that speaks particularly strongly to me and I have enough savings to buy it.
IC: You have quite a variety of works, yet there’s one artist who stands out; Emma Ainala. How many works do you have by her and by other artists?
MW: I don’t have an inventory list of my artworks, but I counted for you that I have 71 artworks by 42 artists. As ten of those works are by Emma Ainala, she’s definitely the most represented artist in my collection. After her, I have max four works by the same artist, and I have one or two works from most artists. You can say that Emma Ainala is my favourite Finnish contemporary artist. I bought my first work by her titled Nice for What? in 2018, which now hangs above my bed.
Even if I said that my collection is based on encounters and not planning, I must admit that before buying Nice for What?, I contacted the gallery (Helsinki Contemporary) and asked to see the list of works before the opening. I had followed Emma Ainala’s practice for some time and felt very strongly about it and wanted the opportunity to choose an artwork among the first ones. I was lucky to get that opportunity. I fell for Nice for What? and immediately bought it. Since then, I’ve bought one painting by Ainala each year, from 2018 to 2025. During two years, I’ve bought two though haha.
I’m fond of Emma Ainala’s paintings because of the feminist energy and surrealism as well as the references to art history and contemporary culture. The paintings have certain similarities regarding style and theme. There’s often the female body, which could be seen as conforming to post-feminist beauty ideals, but as I interpret it, there is a sort of female ‘type character’ depicted in the paintings that also resembles the artist herself, and this character, as well as the artist herself, are definitely aware of the pressure set upon women and all the contradictory ideals. The paintings are multifaceted and rich with references and details, and there’s lots of space for subjective interpretation. Additionally, in terms of technique, the paintings are absolutely fantastic. For me, great art often is a combination of great technical skills, a thought-provoking idea and emotional connectivity.
IC: It’s refreshing to see a collection where you haven’t shied away from both visually and conceptually courageous works.
MW: Yes, indeed, especially Ainala’s paintings are both bold and poetical. She does not seek to please; she paints what she wants and needs to, and that’s energising. I also admire her distinctive style – you can immediately recognise a painting by her. Additionally, while there is a continuity in her works regarding style, she’s continuously evolving and exploring various themes through this strong artistic lens of hers.
From From left to right: Babylon Barbie (2024) by HEMULOORDI, Kukka VIII (2024) by Matias Karsikas and Philosopher’s Picnic (2021) by Emma Ainala.
Top right downwards: Weeping Spring (2022), Rococo Tears (2022), and Pollen Nymph (2023) by Emma Ainala and photograph by Anna Fabia af Enehielm.
‘Philosophers Picnic (2021) is my favourite and one of Emma Ainala’s central works. It was the largest painting in the exhibition titled Season of the Witch: 200 cm x 180 cm. Again, I got the chance to buy it before the opening.’
IC: I can imagine that she would do so well in New York and LA, but I’m glad she’s appreciated in shy Finland as well.
MW: I really see an international career for her. In the Nordics, some people may shy away a bit from her most powerful works, but she is highly appreciated by both the general public and art professionals in Finland. The tenth painting I bought by Ainala, One Must Imagine Girl Clown Happy (2025), is also a very deeply touching painting. It seems to reflect upon unequal and often unreasonable expectations set upon female entertainers and women in general (See four pictures forward, to the right on the floor).
Pretty Good Year (2020) by Emma Ainala
MW: This drawing is by Hannaleena Heiska. It’s from a series titled Camouflage. The figures depicted in the drawings of the series are camouflaged in a way that doesn’t get them caught by facial recognition software. There are dots on the faces which, at least at the time that the works were made, messed with facial recognition technology. It could be seen as a commentary on how much we are filmed/caught on camera in today’s society, often without our explicit consent. It’s a charcoal and dry pastel drawing, which is why I have it here in the corner to avoid sunlight that would harm the mediums and the artwork.
Camouflage XXV (2019) by Hannaleena Heiska.
Above, from left to right: Vieraat (2022), Odottavan aika (2021), and
Good bye shitty part of me (2021) by Melina Paakkonen.
MW: Here, underneath Heiska’s drawing, we have this pink-and-red oil painting by Henriikka Harinen depicting a whipped cream cake with the words ‘Just broken up’ in frosting on top of it. It was exhibited at the Generation 2017 exhibition at Amos Rex. Harinen’s paintings are very impressive. I believe that she hasn’t painted very actively in recent years, though I would love to see new artworks by her again at some point in the future.
Then there’s this ceramic sculpture, Old-Fashioned trophy (still number one) from 2018 by HEMULOORDI. They’re quite a genius artist. This sculpture I’ve bought from them directly, it’s one of their earlier works. It’s so great in so many ways. Just look at the details! Here it says ‘ränniremontti’, ‘can I cry on your shoulder’, and ‘bros before hoes’, while they all circle-fuck each other. It’s very in-your-face and has this celebratory fuck-off mentality. The sculpture continues with more descriptions like ‘Miss Pussyjuice’, ‘Miss Crybaby’, ‘Miss Dead Witch’, and ‘Miss Bad Influence’. It’s hilarious, entertaining and feminist while being humorously critiquing in a multitude of ways.
Just broken up (2016) by Henriikka Harinen and
Old-Fashioned trophy (still number one) (2018) by HEMULOORDI
IC: I love how your collection is an expression of your humour and interests, and that you embrace it, while the majority of the Finnish art scene is so focused on minimalism and nature- and climate change -themes as the only acceptable political subject.
MW: As a person I’m quite courageous and I also appreciate that in artists. Contemplative art is meaningful and necessary. In addition, I see art as a vehicle to comment on society. I gladly buy artworks that do so in some way. Someone once told me that I have a feminist art collection, and yes, maybe I do, but it’s not like I planned it that way. I am a woman and a feminist, and the works speak to me because they awaken feelings that align with my values, so of course that is reflected in my collection. I also have works by male artists, it’s not like I choose works based on gender, but often I relate more to art by female, non-binary, or woman-assumed artists because they express things that resonate with me.
IC: Your home is such a multilayered meadow of artworks. Can you tell a bit on how you curate them?
MW: Yes, so haha, since I buy art quite often, everything also moves around often. Many of the artworks have hung in 3-4 different spots. It’s fun to find new and different ways to hang the works. I think about how to combine different works and find bridges from one to another. For example, in this painting by Cris af Enehielm, there’s the blue monkey’s tail, which kind of works in parallel with the tail in the painting above it by Aki Turunen. In addition to the animal theme and the dialogue between the tails, the colours match quite well. I currently have little wall space left, which means that I can’t decide freely where to hang everything and need to make compromises. For example, none of the five large Emma Ainala paintings can be moved around, if I want to keep all of them on display. Regardless of the limitations, I always strive to create a dialogue or connection through theme, form or colour. It could be a ceramic flower sculpture sort of popping out of a painting next to it, or a ceramic sculpture interacting with the painting above, as they both depict a girl with a dog, for example. There are so many artworks on display that a certain visual harmony is necessary to attain. I genuinely find pleasure in constantly finding new spots for the works and creating even better arrangements. The bedroom is about to change soon too haha.
Allontanarsi dalla linea gialla (2021) by Aki Turunen and an untitled acrylic painting (2012) by Chris av Enehielm under it .
Top middle: Allontanarsi dalla linea gialla (2021) by Aki Turunen, below an untitled acrylic painting (2012) by Chris af Enehielm. On the floor: Bank Note Series (Setelisarja): Jean Sibelius (2014-2015) by Noora Schroderus and One Must Imagine Girl Clown Happy (2025) by Emma Ainala.
IC: …And what are these on the floor here?
MW: Well, as I knew you were coming, I was thinking, damn, I haven’t had time to hang these, but then again, you might as well get the
vibe of how my home normally is; with a few pieces of unhung art leaning somewhere. They are works by Noora Schroderus which I
bought in 2015 at Galleria Sculptor. They’re from a series titled Bank Note Series (Setelisarja) where she took old bank notes and
embroidered on them. I have one Finnish and one Icelandic bank note. The artworks can be interpreted as a bit activist and as criticising
capitalism, because you’re not supposed to break or harm money, yet here the artist has purposefully mistreated the notes. The works
could also be interpreted as a critique against male dominance as Schroderus has decided to embroider ‘hair’ on these men who have
made their way to the bank notes.
Bank Note Series (Setelisarja): Jean Sibelius (2014-2015) by Noora Schroderus.
can be looked at from various directions with new details emerging on all sides.
IC: You also have two older artworks that are quite different form everything else.
MW: Yes, this oil painting above the ceramic sculptures is by Finnish painter Yrjö Ollila, which I’ve inherited from my maternal grandmother. Behind it reads “Maria liked this one as a 3-year-old”. Not sure how accurate the text is, but it was wonderful to get the painting after my grandmother passed away. I also love the beautifully carved art nouveau frame. The other inherited artwork is a delicate watercolour from 1916 by Antti Favén depicting a serene Finnish lake-and-forest landscape.
Top to bottom: Pretty Good Year (2020) by Emma Ainala, untitled oil painting by Yrjö Ollila from the early 20th century, and Dog Moon Rising (2021) by Maisa Majakka. Two ceramic sculptures by Yasushi Koyama on both sides of the ceramic sculpture by Maisa Majakka.
IC: You seem to have quite a few ceramic sculptures, too.
MW: Yes, I have 12 ceramic sculptures. Over here by the dining table, we have the other of my two
ceramic sculptures by HEMULOORDI. It’s called Babylon Barbie and it’s from her Lovechild exhibition
at Galleria Sculptor in 2024. I love this figure because it’s like a godlike, supernatural female warrior
queen with rows of lipstick embellishing her gilded collar. Perhaps the baby erupting out of the head
with a brush in its hand represents female strength and artistic creativity. I just love it. In this work you
can also notice how the artist has developed technically from the previously discussed work.
Babylon Barbie (2024) by HEMULOORDI
MW: Moving to the bedroom, these two photographs (far right in image above) I’ve bought abroad at Photo Basel in 2015, when we visited Art Basel with my family. During Art Basel, a few other, smaller fairs are arranged in the city of Basel, too. Photo Basel is one of them. These photographs of washing sponges on popsicle sticks are by the Swiss-Danish artist duo PUTPUT. They work with conceptual still-life photography and combine or alter ordinary items, creating new, mind-bending and often dysfunctional objects.
From left to right: Huomaamisen ilo (2022) by Hanna Hyy, Nice for What? (2018) by Emma Ainala, untitled drawing by Manuel Donada (2015), and #3 Popsicles and #2 Popsicles (both 2012) by PUTPUT.
MW: Well, haha, it’s partially why I placed it there. I used to call my bedroom the humour room because I originally had mostly fun and cartoonish works hanging here. Before I moved Emma Ainala’s painting Nice for What? (2018) above the bed, I had an endearing painting by Teemu Keisteri depicting two of his fun Ukkeli figures hugging each other hanging there for several years. Ukkeli Hug (2018) is currently lent to a friend, simply because I don’t have space for it right now.
Beautiful Princess Disease (2024) by Emma Ainala and Perkele (2019) by Linda Toye underneath it.
IC: Basically, the forefathers of Live Love Laugh -signs.
MW: Haha, yes. It’s relevant to know that the artist is American, even though she has resided here in Finland for years. I think that the work is a witty representation of Finnish culture. I’ve considered hanging it in the entryway where you enter the ‘sweet home’, but it’s here for now.
MW: This acrylic painting Kompastus (2009) by Camilla Vuorenmaa is here in the hallway because it’s painted on quite thin plexiglass, and therefore fits behind the sliding door to its right, without the artwork being harmed by the door. I couldn’t hang anything else there, so this solution is great. The painting is quite raw, like the figure is crawling out of a puddle they fell in or something. Matti Pikkujämsä’s painting of the Yrjönkatu swimming pool matches the colours of Vuorenmaa’s painting, but it also forms a thematic connection between the two quite different paintings. Perhaps Vuorenmaa’s figure is just about to dip in again? :D
The kitchen and the bathroom are the only rooms I don’t have art in, as moisture and grease aren’t the best friends of art.
From left to right: Yrjönkatu 14. syyskuuta (2021) by Matti Pikkujämsä and Kompastus (2009) by Camilla Vuorenmaa.
IC: That’s important info for new collectors as well! I’m curious, what other recommendations do you have for people who want to start collecting art?
MW: I recommend starting by seeing as much art as you can at both galleries and museums in order to start developing an idea of what kind of art speaks to you and feels meaningful to you. It’s best if you don’t feel any pressure of buying. Keep an open mind. When you encounter an artwork that you can’t get your eyes off and feel especially connected to, go for it, if you have the money for it.
If you have a limited budget, artworks by up-and-coming, not yet established artists, who are not yet represented by a gallery, will be more affordable. It’s also meaningful to support artists who are in the beginning of their career. The exhibitions and sales events at the Academy of Fine Arts also provide a great opportunity to get acquainted with the works of the future generations of Finnish artists. I feel that the most interesting and current contemporary artworks are sold by galleries or directly by the artists themselves. However, if you’re into older art, auctions can be the right place for you.
There are many approaches to art collecting, but I would personally not recommend going ‘shopping’ for art. In other words, try to avoid buying art just because you want to fill an empty wall or because the colours of the work really match your decor. Wait for a deeper encounter. It will be worth it. If the artwork truly resonated with you, you will most likely enjoy it longer – hopefully for life – than if you only buy something to fit a specific space. For me, art is not an interior element or a commodity.
Even if I have a vast collection for someone still in their 30s, collecting is not what is central to me in art. I truly love art. It has affected my values and thinking and contributed to my continuous development as a person. I’ve visited countless museums and galleries, and encountered art in different places and countries since I was young, so of course I have also developed an eye for what the traditional art establishments appreciate. But, most importantly, through seeing so much, I have developed my personal taste. I would never buy something that I don’t love. However, as you might expect, I have works that don’t speak to me as they once did. It's natural. I have changed, like we all do.
The gut feeling of what speaks to you, will strengthen over time. Enjoy the journey of developing your own taste. I would love to see more people in Finland spend time learning about what art means to them. Sometimes when I see people in museums, it feels like they’re rushing through the exhibitions. I also know that many people feel that they do not ‘understand’ contemporary art. I recommend taking your time at exhibitions. Stop by the artworks and contemplate what feelings they evoke in you. How do you see the art before and after reading the curatorial statement? Contemporary art invites us to form our own interpretations – there is not one correct understanding of it. We can’t know or understand everything, and the beauty of contemporary art is that it enables and challenges us to constantly form new thoughts. Art can help us see things in a new light and even change us.
IC: How do you feel about art as an investment?
MW: I wouldn’t recommend buying art only as a financial investment as it’s very risky. If you only want to use your money for a financial investment, there’s better investment objects available. For me, art is an investment in my well-being, which can’t be measured. When purchasing art, I don’t recommend relying too much on other people’s opinions, either. The only thing that truly matters is that you yourself like and want the artwork. It’s perfectly fine that your friends don’t love the same art as you. Of course, if you live with someone, you might need to consult with them before making a purchase, but hopefully you’ll find a way to allow the taste of both persons to show in your mutual home.
IC: Where do you keep the art that doesn’t fit in here?
MW: As I’ve already mentioned, I have 71 artworks in total. Here at home, I have 54 artworks on display, which means that there’s 17 artworks somewhere else. Some works are in storage at home, while a few are in a separate storage space. Four works are borrowed to four different friends. It’s much nicer that the works are on display than in storage.
I have a big black-and-white photograph by Ville Anderson that used to hang above my turntables. It depicts a seemingly endless US desert landscape with a road sign that says ‘Silence’ and below it ‘Please’ in small lettering. I deliberately hung it above the spot in my apartment where I create most sound haha. Unfortunately, it’s in storage right now as this larger oil painting by Emma Ainala replaced it for now.
This oil painting If You Wanna be My Lover (2019) by Emma Ainala, I bought in a funny way too. The former owner messaged me on Instagram because they knew I had several works by the artist. They told me that they were planning to sell this painting and asked me if I wanted to buy it. Here it is!
IC: Thank you so much for sharing about your collection, it’s truly very energising to see! Do you have a final comment that you want to leave the readers with?
Well, it might sound like I just buy everything I want, but it’s not like that at all. If I could buy all the artworks that resonate with me, I would have hundreds, even thousands of artworks haha, but of course I can’t have them all, and that is absolutely okay. When I worked as an attorney, I had a good income, and since I didn’t spend much money on anything in addition to art and records, I had a nice annual budget for both. Now that I am a full-time student, I certainly don’t have the same budget, but I can still buy an affordable work by an art student now and then.
I would like to see more people buying art. I think that the effect of fine art on our well-being is sadly often overlooked. Perhaps it’s because we don’t have such a long history or tradition to buy art or have art at home, like in, for example, France or even our neighbour Sweden. Many people will rather buy a nicer car or TV, or a new handbag or the like, if they have some extra money to spend. However, I do acknowledge that it has been easier for me to buy lots of art as I don’t have, for example, kids, pets, a car, or a summer cottage. Of course you need some money to buy art – that is evident – but keep in mind that the price range is wide. For example, you can find brilliant small artworks for only around 100 euros at the Christmas sale of the students of the Academy of Fine Arts in Helsinki.
For me, it has always felt meaningful to purchase art from young, living artists and, even if in a small way, contribute to the continuance of their artistic practice and to demonstrate my appreciation for what I love the most, the visual arts.
Full list of artists in Maria Wesander’s art collection: Emma Ainala, Ville Andersson, Jonathan Ben-Ami, Piiti Blomqvist, Bruna Canepa, Isabella Chydenius, Robert Cottingham, Manuel Donada, Anna Fabia af Enehielm, Cris af Enehielm, Antti Favén, Alexei Gordin, Henriikka Harinen, Hannaleena Heiska, HEMULOORDI, Hanna Hyy, Ivanda Jansone, Matias Karsikas, Teemu Keisteri, Jonna Kina, Anna-Stiina Korhonen, Yasushi Koyama, Francesca Lindh, Maisa Majakka, Riitta Nelimarkka, Yrjö Ollila, Melina Paakkonen, Matti Pikkujämsä, Jon Pylypchuk, PUTPUT, Céleste Richard Zimmermann, Kristina Riska, Richard Ryan, Riiko Sakkinen, Noora Schroderus, Ines Sederholm, Nelly Toussaint, Linda Toye, Katja Tukiainen, Aki Turunen, Camilla Vuorenmaa, Annika Wester.