Elina Brotherus, Carpe Fucking Diem, 2011–2015

Elina Brotherus, Rotten Tomatoes, 2014

Pigment ink print on barytha paper from digital original mounted on aluminium and framed
40 x 55 cm
Edition of 6

Carpe Fucking Diem is an attempt to reconstruct the meaning of life for a future that is not what I imagined it to be. Using myself as a model, with various degrees of autobiography, is something I have done for so long that my own figure has become my tool. It’s like a word in my vocabulary. Now I use it to talk about a failure to have a family with kids. Then one starts to look around with different eyes. I began to see the surprising and surreal undertones of the everyday life, not totally deprived of humor, because even an unhappy end is not The End. 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.
Photographs of the series were partly done in parallel with the Annonciation (2009-2013) series. In the book, the Annonciation photographs are preceded by a long prologue and followed by an aftermath emphasizing that life continues. Carefully constructed tableau-like self-portraits give way to an observation of the surroundings. The immediacy of the snap shop like esthetic contrasts with the more constructed images.

Carpe Fucking Diem is the title of my sixth monograph designed by Teun van der Heijden and published in 2015 by Kehrer Verlag.

Elina Brotherus, Bedsheet, 2013

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

Carpe Fucking Diem is an attempt to reconstruct the meaning of life for a future that is not what I imagined it to be. Using myself as a model, with various degrees of autobiography, is something I have done for so long that my own figure has become my tool. It’s like a word in my vocabulary. Now I use it to talk about a failure to have a family with kids. Then one starts to look around with different eyes. I began to see the surprising and surreal undertones of the everyday life, not totally deprived of humor, because even an unhappy end is not The End. 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.
Photographs of the series were partly done in parallel with the Annonciation (2009-2013) series. In the book, the Annonciation photographs are preceded by a long prologue and followed by an aftermath emphasizing that life continues. Carefully constructed tableau-like self-portraits give way to an observation of the surroundings. The immediacy of the snap shop like esthetic contrasts with the more constructed images.

Carpe Fucking Diem is the title of my sixth monograph designed by Teun van der Heijden and published in 2015 by Kehrer Verlag.

Elina Brotherus, Prospect Park Pastoral, 2012

From the series Carpe Fucking Diem
Pigment ink print on barytha paper from digital original mounted on aluminium and framed
90 x 133 cm
Edition of 6

Carpe Fucking Diem is an attempt to reconstruct the meaning of life for a future that is not what I imagined it to be. Using myself as a model, with various degrees of autobiography, is something I have done for so long that my own figure has become my tool. It’s like a word in my vocabulary. Now I use it to talk about a failure to have a family with kids. Then one starts to look around with different eyes. I began to see the surprising and surreal undertones of the everyday life, not totally deprived of humor, because even an unhappy end is not The End. 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.
Photographs of the series were partly done in parallel with the Annonciation (2009-2013) series. In the book, the Annonciation photographs are preceded by a long prologue and followed by an aftermath emphasizing that life continues. Carefully constructed tableau-like self-portraits give way to an observation of the surroundings. The immediacy of the snap shop like esthetic contrasts with the more constructed images.

Carpe Fucking Diem is the title of my sixth monograph designed by Teun van der Heijden and published in 2015 by Kehrer Verlag.

Elina Brotherus, Pool, Night, 2011

Pigment ink print on barytha paper from digital original mounted on aluminium and framed
70 x 92 cm
Edition of 6

Carpe Fucking Diem is an attempt to reconstruct the meaning of life for a future that is not what I imagined it to be. Using myself as a model, with various degrees of autobiography, is something I have done for so long that my own figure has become my tool. It’s like a word in my vocabulary. Now I use it to talk about a failure to have a family with kids. Then one starts to look around with different eyes. I began to see the surprising and surreal undertones of the everyday life, not totally deprived of humor, because even an unhappy end is not The End. 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.
Photographs of the series were partly done in parallel with the Annonciation (2009-2013) series. In the book, the Annonciation photographs are preceded by a long prologue and followed by an aftermath emphasizing that life continues. Carefully constructed tableau-like self-portraits give way to an observation of the surroundings. The immediacy of the snap shop like esthetic contrasts with the more constructed images.

Carpe Fucking Diem is the title of my sixth monograph designed by Teun van der Heijden and published in 2015 by Kehrer Verlag.

Elina Brotherus, My dog is cuter than your ugly baby, 2013

Pigment ink print on barytha paper from digital original mounted on aluminium and framed
80 x 53 cm
Edition of 6

Carpe Fucking Diem is an attempt to reconstruct the meaning of life for a future that is not what I imagined it to be. Using myself as a model, with various degrees of autobiography, is something I have done for so long that my own figure has become my tool. It’s like a word in my vocabulary. Now I use it to talk about a failure to have a family with kids. Then one starts to look around with different eyes. I began to see the surprising and surreal undertones of the everyday life, not totally deprived of humor, because even an unhappy end is not The End. 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.
Photographs of the series were partly done in parallel with the Annonciation (2009-2013) series. In the book, the Annonciation photographs are preceded by a long prologue and followed by an aftermath emphasizing that life continues. Carefully constructed tableau-like self-portraits give way to an observation of the surroundings. The immediacy of the snap shop like esthetic contrasts with the more constructed images.

Carpe Fucking Diem is the title of my sixth monograph designed by Teun van der Heijden and published in 2015 by Kehrer Verlag.

Elina Brotherus, Silver River, 2014

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

Carpe Fucking Diem is an attempt to reconstruct the meaning of life for a future that is not what I imagined it to be. Using myself as a model, with various degrees of autobiography, is something I have done for so long that my own figure has become my tool. It’s like a word in my vocabulary. Now I use it to talk about a failure to have a family with kids. Then one starts to look around with different eyes. I began to see the surprising and surreal undertones of the everyday life, not totally deprived of humor, because even an unhappy end is not The End. 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.
Photographs of the series were partly done in parallel with the Annonciation (2009-2013) series. In the book, the Annonciation photographs are preceded by a long prologue and followed by an aftermath emphasizing that life continues. Carefully constructed tableau-like self-portraits give way to an observation of the surroundings. The immediacy of the snap shop like esthetic contrasts with the more constructed images.

Carpe Fucking Diem is the title of my sixth monograph designed by Teun van der Heijden and published in 2015 by Kehrer Verlag.

Elina Brotherus, Flowers, 2014

Pigment ink print on barytha paper from digital original mounted on aluminium and framed
40 x 25 cm
Edition of 6

Carpe Fucking Diem is an attempt to reconstruct the meaning of life for a future that is not what I imagined it to be. Using myself as a model, with various degrees of autobiography, is something I have done for so long that my own figure has become my tool. It’s like a word in my vocabulary. Now I use it to talk about a failure to have a family with kids. Then one starts to look around with different eyes. I began to see the surprising and surreal undertones of the everyday life, not totally deprived of humor, because even an unhappy end is not The End. 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.
Photographs of the series were partly done in parallel with the Annonciation (2009-2013) series. In the book, the Annonciation photographs are preceded by a long prologue and followed by an aftermath emphasizing that life continues. Carefully constructed tableau-like self-portraits give way to an observation of the surroundings. The immediacy of the snap shop like esthetic contrasts with the more constructed images.

Carpe Fucking Diem is the title of my sixth monograph designed by Teun van der Heijden and published in 2015 by Kehrer Verlag.

Elina Brotherus, Camouflage, 2013

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

Carpe Fucking Diem is an attempt to reconstruct the meaning of life for a future that is not what I imagined it to be. Using myself as a model, with various degrees of autobiography, is something I have done for so long that my own figure has become my tool. It’s like a word in my vocabulary. Now I use it to talk about a failure to have a family with kids. Then one starts to look around with different eyes. I began to see the surprising and surreal undertones of the everyday life, not totally deprived of humor, because even an unhappy end is not The End. 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.
Photographs of the series were partly done in parallel with the Annonciation (2009-2013) series. In the book, the Annonciation photographs are preceded by a long prologue and followed by an aftermath emphasizing that life continues. Carefully constructed tableau-like self-portraits give way to an observation of the surroundings. The immediacy of the snap shop like esthetic contrasts with the more constructed images.

Carpe Fucking Diem is the title of my sixth monograph designed by Teun van der Heijden and published in 2015 by Kehrer Verlag.