The exhibition Love Bears All Things consists of ceramic sculptures and an installation, explores life as a family member of someone with mental health challenges. The theme is rooted in my personal experiences and the roles I inhabit: an observer, a supporter, and someone who also receives support. My husband has a bipolar disorder, and his illness impacts our life together. The artworks in this exhibition are based on conversations Iäve had with him, and he has actively participated in the filming and editing of the video for the Cycle installation. In the works, the Minotaur represents my husband, while I am portrayed as a platypus.

In the Tile Gallery, three works are exhibited that reflect the limitations imposed by mental illness. People often build insurmountable barriers in their minds, and a safe home can become a prison of the mind. The Cycle installation, displayed in the Cellar Gallery portrays an endless journey through anxiety, insomnia, and restlessness—symptoms my husband has identified as recurring cycles in his condition. These symptoms follow each other in a relentless loop, as asymptomatic periods are always followed by symptomatic periods.

Also in the Cellar Galleries are works examining my role as a family member. While support from a loved one is crucial, it is equally important to maintain one’s own functionality. Mental illness often takes my husband into deep waters, and I need to remain present while also learning to let go. Inevitably,difficult phases pass, but despite knowing that his illness and the episodes are not caused by my actions or inactions, it is easy to fall into self-blame. I believe every family member of someone with mentalhealth challenges struggles with this at times.

On the Small Stage, the series Bearing - in three parts—explores mutual support in relationships. Mental illness is just one aspect of a partnership. In an equal relationship, both partners support each other reciprocally. Illness does not change this.

I thank my husband, Otto Santala, for his support and invaluable help in realizing this exhibition. You believed from the beginning that I could approach this subject honestly and respectfully. I also thank my brother and nephews for assisting with the pit firing.

Helsinki, December 30, 2024

Miia Kallio

Miia Kallio (b. 1972) is a Helsinki-based ceramic artist (Master of Culture and Arts, Designer, BA in Humanities). She has worked as a ceramic artist since graduating in 1998. Her practice is deeply rooted in material, most often Finnish red clay, earthenware. Kallio describes herself as “thinking with her hands,” creating works as a collaboration between the artist and the material.

She frequently highlights the fascinating possibilities of unglazed surfaces through techniques such as polishing or smoking. Currently, Kallio is developing a guide for art educators on working with Finnish red clay, supported by the Ornamo Foundation. Finnish red clay is a demanding material that requires patience, and Kallio finds her thinking crystallizes through the slow process of working with it. The pieces in the central ring of the Cycle installation were fired in a purpose-dug pit, while some other works or parts of works in the exhibition were smoked after the bisque firing. According to Kallio, slow firing and surface treatment methods deepen the layers of meaning in her work.

The works above are by Miia Kallio and photographed by Otto Santala. On the left  Deadlock, 2024, Kultela earthenware, 42 x 37 x 37 cm and on the right Safe
2024, Kultela earthenware,  42 x 37 x 37 cm.