Brotherus’ Photography – The Novel Painting?

“Her self-portraits often dealt with problematic situations in personal, intimate relationships.”

Elina Brotherus, one of her generation’s most significant photographers and video artists in Europe has recently been the subject of a new monograph Elina Brotherus: Artist and her model. The publication gathers both earlier autobiographical works and later works characterized more by formal research and model studies. The award-winning Finnish artist known for her emotional self-portraits and landscapes reflecting academic traditions, communicate a beautiful poetry found in everyday life. Capturing moments with a uniquely enchanting touch is the result of something more than just technical mastery or creative enthusiasm, both of which Brotherus clearly possesses. Rather, Brotherus possesses a rare talent of shedding light on difficult situations— portraying banal occasions as petite wonders of daily life. Although Brotherus has in recent years concentrated mainly on formal issues, such as the use of light and composition, she remains an exceptional storyteller—whether or not it was her intention.

It wasn’t clear from the outset whether Brotherus would become a photographer; in fact it was a lucky coincidence. Before she decided to give photography a try she was a devoted chemistry student. During her laboratory training, however, she collided with a professor, which led her to sit down and rethink her career choice. “I thought of other professions I had an interest in and found myself writing down ‘visual arts, musicology and literature’ on a piece of paper.” This change of direction was evidently for the best, as in the years to come, she would receive the Finnish State Prize for Photography and the French Prix Niépce prize. In the early stages of Brotherus’ career, her photographs were heavily loaded with subjective experience of existential loneliness and unrequited love. Her self-portraits often dealt with problematic situations in personal, intimate relationships: even the most difficult moments of her life were immortalized—standing alone in her wedding dress after her divorce in Divorce Portrait (1998). Although her early works may have been subjective and contemplative, they were replete with a palette, which conveyed universal human feelings.

Soon after her earlier works Brotherus left these personal portraits behind. Autobiographical interests were replaced with visual ones and the artist was no longer modeling as herself, she simply gave pictures a human presence when they required one, with historical associations to Cindy Sherman. Formalism became more important than storytelling; for example in The New Painting (2000-2004) Brotherus studied the thematics of creating a photograph in terms of light, color, and composition. The series exhibits peaceful landscapes, often with a faint light, capturing the actual atmosphere in addition to the enticing scenery and contours. “Moving to France and my interest in landscapes lead me to immerse myself in the history of classical painting and ways to create meanings, leaving the personal note aside,” tells Brotherus with great enthusiasm. References to art history in her works are nuanced; such as naming works in the impressionist tradition of weather conditions, e.g. baigneuse, orage montant (Bather, thunder rising). Influence of Pierre Bonnard can be seen in her compositions and use of light, whereas Cezanne’s work has inspired Brotherus’ ordinance of figures in her bather photographs.

Elina Brotherus, Baigneuse, orage montant, 2003. Chromogenic color print on Fuji Crystal Archive paper, 70×79 cm. Courtesy of the artist.

In another recent series, Artists at Work (2010), the Finnish artist invited two painters that had received a traditional atelier education at the St. Petersburg’s Academy of Arts to paint her while she filmed and photographed the session. She was excited to break boundaries: “The traditional setting was distracted and followed by a crossfire of gazes. Who models and for whom, and who receives the final look?”

Brotherus sat down fifteen years ago and decided to exit the laboratory and become an artist instead of a chemist. One of the most captivating things about her work is her use of time. Working in a metaphysical tradition, her work captures the sensation that over time nature prevails and the same emotional encounters circle around over and over again. She states, “art is the (only) thing that remains after our days are over. Or can you name any famous corporation from ancient Egyptian civilization or from the 19^th century?” she smiles warmheartedly.