It is not clear why the author of the course notes picked two nude self-portraits of Elina Brotherus as illustrations. While most of her work (Brotherus, 2016) includes the photographer as her own model, she is fully-clothed for the majority of it.
Elina Brotherus (b 1972) is a Finnish photographer, now based in Finland and France. “I was left with this idea of what adults do,” she says. “They do chemistry and if that doesn’t work, they study art. So that’s what I did.” (quoted by Sherwin, 2010). In this she is modest, having gained both an MSc in chemistry and an MA in photography. At the time of Sherwin’s Guardian article, she was best known for her landscape and figure-in-landscape. Her autobiographical photography came later and reflects an earlier period, including the ‘Das Mädchen sprach von Liebe’ and the Model Studies series.
There are differences between Brotherus’ work and that of Francesca Woodman. With Brotherus, I get a much stronger impression of narrative, within individual images and in the series. And, of course, Woodman denied herself the opportunity to mature as a photographer.
The link between Brotherus’ early and late periods of autobiographical work is illustrated in the series ‘12 ans après‘ (12 Years Later) made in 1999 and 2011-13. During a period as artist-in-residence to the Musée Nicéphore Niépce in Chalon-sur-Saône, she made the series ‘Suites françaises’ showing herself learning French with the aid of Post-it notes stuck to parts of her guesthouse rooms. Returning to teach a workshop in 2011, she stayed in the same guesthouse and recorded many of the same places and scenes; the two sets of images creating a dialogue across the years.
Unlike, say, Cindy Sherman whose self-portraits have an air of artifice and glamour, Brotherus is brutally honest about herself and her emotions. Probably the most personal series is ‘Annonciation‘, made between 2009 and 2013, dealing with five years of unsuccessful infertility treatment and her final acceptance of involuntary childlessness.
Broken up into years by facsimile diary pages, the series charts a progress through hope, despair and tears to a form of acceptance, a female figure with her back to camera in the middle of a snowy landscape.
As a sort of follow-up, ‘Carpe Fucking Diem‘ (2011-15) “… is an attempt to reconstruct the meaning of life for a future that is not what I imagined it to be”. Shot partly in parallel with ‘Annonciation‘ and partly in the two years afterward, the series takes Brotherus from those depths to a new surreal view of things around her. In her own words, “I don’t have children so I don’t need to adopt any preconceived role of an adult. I can give normality the finger. Carpe Fucking Diem is also about inventing strange games for the playground of the camera.”
Asbæk, M (s.d.) Elina Brotherus [online] Available at <http://www.martinasbaek.com/Artists/Elina-Brotherus> [Accessed 30/9/2017].
Brotherus, E (2016) Elina Brotherus [online] Available at <http://www.elinabrotherus.com> [Accessed 30/9/2017].
Sherwin, S (2010) Artist of the week 104: Elina Brotherus [online] Available at <https://www.theguardian.com/artanddesign/2010/sep/08/artist-week-elina-brotherus-photography> [Accessed 30/9/2017].