For a family that values tradition and looks beyond a single generation, a portrait holds particular significance. It preserves not only a likeness, but a presence — becoming part of the family’s history and a lasting connection between generations.
The painting itself should be worthy of that purpose: created to endure, preserving its artistic strength and historical authenticity for future generations.
I have long been thinking about the continuity of generations, the meaning of legacy, and the importance of feeling connected to one’s roots. In this sense, a portrait becomes something more than an image of an individual: it preserves a connection between past, present, and future.
Among the works that explore this theme, “Old Portrait” holds a special place for me. It is not only about the portrait itself, but about the moment when a person encounters his own history — those who came before him, and whose presence remains part of the family.
I prefer a classical approach, with a fully developed painted surface, multilayer technique, and close attention to detail. At the same time, every commission is a dialogue with the client, and this sometimes calls for a degree of stylisation or a more decorative treatment of the background, interior, or secondary elements.
The examples below show how differently this balance can be resolved. What remains unchanged is the standard of execution: stylistic adaptation never comes at the expense of the painting itself.
The Eastern series also includes elements of stylisation. The interiors, ornament, textiles, and decorative details are treated with greater freedom, while the figures themselves remain rooted in the same classical principles of portrait painting.
The portraits of European monarchs provide another example. Here, the atmosphere is cooler and more restrained, and the overall treatment is closer to the classical tradition of formal portraiture.
The next two works are very close to the classical tradition of portrait painting. In the second, the background is slightly stylised, while the portrait itself remains firmly rooted in classical principles.
I would also like to show a child portrait, alongside a work whose treatment is closer to contemporary realist painting. Despite the difference in character, both remain grounded in the same attention to likeness, presence, and execution.
Every portrait is created for a particular person, family, and setting. My role is to understand how the client wishes to see the sitter represented, and to create a work that feels entirely at home in its intended surroundings — whether that means a formal residence, a private interior, or a family collection.
Whatever the style or setting, the same high standard of craftsmanship and execution is maintained throughout.
My portrait work includes former President of Finland Martti Ahtisaari, Finnish political and public figures, and private commissions for clients in Finland and abroad. Among these is a portrait of businessman Björn Wahlroos, commissioned by a private client from his circle. My portraits and other works are held in private collections across Europe and beyond, including Sweden, Germany, Italy, France, Latvia, Estonia, Uzbekistan, Kazakhstan, the United Arab Emirates, and the United States. The double portrait of Tita and Gustaf Serlachius is in the collection of the Serlachius Museum Gösta in Finland.
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