Eino began painting as a young boy, at around the age of nine. Because he had no formal education in the craft at this time, his style and subject matter were very “free” – largely unencumbered by the tradition of rules to be met and styles to be emulated.
When he was seventeen he painted a portrait of a young lady that he was dating. When the subject’s mother saw the painting, she exclaimed “how did you learn to paint like Modigliani?”
Eino told the woman that he didn’t know who Modigliani was; the next day he was presented with a book of the painter’s work - thus began his “formal studies” in the discipline. After Modigliani, Eino explored other Impressionist artists. He found this style very inviting, as nature and the everyday world had always been his source of inspiration, as concerned his art.
Especially appealing is the fact that at the core of Impressionism is the belief that each artist has the RIGHT to imbue his/her works with their “personal vision and subjectivity”.
In the “Psychotropic Series” Eino fully embraces this “right of subjectivity” as he explores the inner recesses of his creative mind, to see where they might lead. While the subject matter focuses outwardly on the physicality of nature, more important for the artist is the creation of activity within a static plane. “I want to play with the viewer’s mind”, he states enthusiastically.
Eino approaches this genre much as he does his sculpture; he is thoughtful and patient, planning far in advance the succession of moves that will most successfully yield his objective. One hallmark of his personal style is the “sculpted look” of the paint on the canvas. Paint is applied with a variety of brushes as wells as knives and whatever other object can be quickly adapted to the need at hand.
Dimension is created by varying the thickness of the paint application, attentive use of hues and tints, and vigorous and diverse brushstrokes. It is the fusion of multiple elements that produces the dynamism that is undeniable in each finished piece.
At the beginning of each new work, the artist decides upon a theme and sets a “compositional objective”. He decides what will be the focal point(s) in a scene, and how he will craft that result.
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