Hands are depicted on big sheets by Jarõna Ilo in her diaries-series.

Diaries, as it is of common knowledge, come in very different styles. There are diaries of teenage girls, the aim of which is to absorbe personal-intimate confessions, but there also exist diaries of adults, into which are written things, which the others must not become aware of. These two types are diaries, the essence of which is to remain secret and to be a friend. But there are also different diaries: for example a ship log, into which are marked down all changes of courses, but also a training diary, where are shown the covered kilometres. The works of Jarõna Ilo are placed while deciding according to their fabric more among the training diaries than those of teenage girls.

Actually we could look at the series by Ilo as at a series of hand pictures, where on each single sheet are being depicted hands (more exactly: palms of hands) in intriguing positions, onto which as applications have been added symbols, signs, dolls. We could look at it as an art historical \"series\", where the series is only a method upon the surveillance of different positions and at offering of different form-related solutions and which sort of lack any bond with the author\'s position. But this \"being a series\" stands in this case outside the art historical vocabulary. The date, which has been added to each sheet with a neurotically consistent manner, gives the series an obvious notion of a diary.

Jarõna Ilo herself says:\"I draw, because this is an immensely beautiful visual language. I draw, because I enjoy manual freedom. I draw, because it is one of the languages which I speak.\" And just this \"language which she speaks\" could be a key for opening of Ilo\'s diaries. Because the diaries have been written through drawings, in order to read them, one has to be able to read visual language and in order to write, one needs coal instead of ink. These are diaries, the essence of which is not mystery, but obvious openness. While being scattered all over the exhibition hall, the hand diaries are just like fragments from the life of the artist, who turns to us in the language she knows best.

But what could be the idea of all of this? Well, even if we have made clear that Ilo is not concealing anything, but steps in front of the public, gives her personal author\'s diary to everybody for reading, then we still should ask, why does she do it? Why does Ilo use the exhibiton format and places on walls something, which obviously is not a cold and cynical series, but something that sincerely reveals the author\'s personality? But maybe this is the case? Maybe this is the case that making the diary public, its betrayal, which is considered to be worthy of daily marking, is its reason and justification? Maybe this is the case that the author\'s decision to organise an exhibition and to set up her hand portraits is the most significant conceptual core of the present exhibition?

But everything only starts from here on.