Elina Brotherus, Artist and her Model, 2005–2011

Elina Brotherus, Hotel 2, 2010

Pigment ink print on barytha paper from digital original mounted on aluminium and framed
40 x 57 cm
Edition 6

I have been doing self-portraits for so many years that my own figure has become like a familiar sign, like a word in my vocabulary. After Model Studies and Études d’après modèle, danseurs, the series Artist and her Model focuses on the fact that here the artist and the model are one and the same.
Susan Bright writes about the work:
Her deep understanding of art history has a paradoxical effect in that you consider her as a person but also a model. In her photographs there is a closeness you feel to her but also a cool conceptual distance. This complicates viewing the work in terms of self-portraiture, landscape or a diary, and so photographs that can often appear quiet and straightforward on first encounter become denser and laden with histories as you spend time with them. The ‘backstories’ which lie behind the beautiful, lush compositions are exacerbated as she reaches that somewhat terrifying ‘mid career’ point and looks back on her life as an artist.
(Susan Bright: NOW AND THEN, published in Elina Brotherus: Artist and her Model, Le Caillou bleu, Brussels 2012.)

Elina Brotherus, The Lake, 2007

Pigment ink print on barytha paper from digital original mounted on aluminium and framed
70 x 88 cm
Edition of 6

I have been doing self-portraits for so many years that my own figure has become like a familiar sign, like a word in my vocabulary. After Model Studies and Études d’après modèle, danseurs, the series Artist and her Model focuses on the fact that here the artist and the model are one and the same.
Susan Bright writes about the work:
Her deep understanding of art history has a paradoxical effect in that you consider her as a person but also a model. In her photographs there is a closeness you feel to her but also a cool conceptual distance. This complicates viewing the work in terms of self-portraiture, landscape or a diary, and so photographs that can often appear quiet and straightforward on first encounter become denser and laden with histories as you spend time with them. The ‘backstories’ which lie behind the beautiful, lush compositions are exacerbated as she reaches that somewhat terrifying ‘mid career’ point and looks back on her life as an artist.
(Susan Bright: NOW AND THEN, published in Elina Brotherus: Artist and her Model, Le Caillou bleu, Brussels 2012.)

Elina Brotherus, Black Bay, 2010

Pigment ink print on barytha paper from digital original mounted on aluminium and framed
60 x 90 cm
Edition of 6

I have been doing self-portraits for so many years that my own figure has become like a familiar sign, like a word in my vocabulary. After Model Studies and Études d’après modèle, danseurs, the series Artist and her Model focuses on the fact that here the artist and the model are one and the same.
Susan Bright writes about the work:
Her deep understanding of art history has a paradoxical effect in that you consider her as a person but also a model. In her photographs there is a closeness you feel to her but also a cool conceptual distance. This complicates viewing the work in terms of self-portraiture, landscape or a diary, and so photographs that can often appear quiet and straightforward on first encounter become denser and laden with histories as you spend time with them. The ‘backstories’ which lie behind the beautiful, lush compositions are exacerbated as she reaches that somewhat terrifying ‘mid career’ point and looks back on her life as an artist.
(Susan Bright: NOW AND THEN, published in Elina Brotherus: Artist and her Model, Le Caillou bleu, Brussels 2012.)

Elina Brotherus, Portrait of a couple, 2007

Pigment ink print on barytha paper from digital original mounted on aluminium and framed
105 x 127 cm
Edition of 6

I have been doing self-portraits for so many years that my own figure has become like a familiar sign, like a word in my vocabulary. After Model Studies and Études d’après modèle, danseurs, the series Artist and her Model focuses on the fact that here the artist and the model are one and the same.
Susan Bright writes about the work:
Her deep understanding of art history has a paradoxical effect in that you consider her as a person but also a model. In her photographs there is a closeness you feel to her but also a cool conceptual distance. This complicates viewing the work in terms of self-portraiture, landscape or a diary, and so photographs that can often appear quiet and straightforward on first encounter become denser and laden with histories as you spend time with them. The ‘backstories’ which lie behind the beautiful, lush compositions are exacerbated as she reaches that somewhat terrifying ‘mid career’ point and looks back on her life as an artist.
(Susan Bright: NOW AND THEN, published in Elina Brotherus: Artist and her Model, Le Caillou bleu, Brussels 2012.)