Elina Brotherus, Les Femmes de la Maison Carré, 2015–2018

Elina Brotherus, Transat, 2015

Pigment ink print on barytha paper from digital original mounted on aluminium and framed
70 x 104 cm
Edition of 6

he series Les Femmes de la Maison Carré is shot in the only building designed by Alvar Aalto in France, the Maison Louis Carré (1959) near Paris. Susanna Petterson, Director of the Finnish National Gallery Ateneum writes about the series:
The title, Les Femmes de la Maison Carré, spurs us to solve puzzles. The person in the photograph proposes a narrative that we as viewers instinctively begin to construct. Who are these women? Where have they come from? What era do they represent? - Although the language of Brotherus’ photographs is completely recognizable as hers, the starting point of the series is a new one, formed on the site. “I seek, do, find - and take pictures. I don’t interfere with the space, but the human presence awakens it,” Brotherus says. - The photographs in Les Femmes de la Maison Carré are at once composed and natural. They are direct yet mysterious. They live in this moment and in the past. They effortlessly make use of the house and its surroundings. In practice, Brotherus walks into one of the most iconic buildings of modern architecture and makes the experience completely her own.
(Susanna Pettersson: The blank page, Elina Brotherus and human-enlivened spaces, in Elina Brotherus: Les femmes de la Maison Carré, Maison Louis Carré, Bazoches-sur-Guyonne and Galleria Heino, Helsinki, 2015.)

Elina Brotherus, Piscine de nuit 2, 2018

Pigment ink print on barytha paper from digital original mounted on aluminium and framed
70 x 93 cm
Edition of 6

he series Les Femmes de la Maison Carré is shot in the only building designed by Alvar Aalto in France, the Maison Louis Carré (1959) near Paris. Susanna Petterson, Director of the Finnish National Gallery Ateneum writes about the series:
The title, Les Femmes de la Maison Carré, spurs us to solve puzzles. The person in the photograph proposes a narrative that we as viewers instinctively begin to construct. Who are these women? Where have they come from? What era do they represent? - Although the language of Brotherus’ photographs is completely recognizable as hers, the starting point of the series is a new one, formed on the site. “I seek, do, find - and take pictures. I don’t interfere with the space, but the human presence awakens it,” Brotherus says. - The photographs in Les Femmes de la Maison Carré are at once composed and natural. They are direct yet mysterious. They live in this moment and in the past. They effortlessly make use of the house and its surroundings. In practice, Brotherus walks into one of the most iconic buildings of modern architecture and makes the experience completely her own.
(Susanna Pettersson: The blank page, Elina Brotherus and human-enlivened spaces, in Elina Brotherus: Les femmes de la Maison Carré, Maison Louis Carré, Bazoches-sur-Guyonne and Galleria Heino, Helsinki, 2015.)

Elina Brotherus, Vestiare 1, 2015

Pigment ink print on barytha paper from digital original mounted on aluminium and framed
70 x 46 cm
Edition of 6

he series Les Femmes de la Maison Carré is shot in the only building designed by Alvar Aalto in France, the Maison Louis Carré (1959) near Paris. Susanna Petterson, Director of the Finnish National Gallery Ateneum writes about the series:
The title, Les Femmes de la Maison Carré, spurs us to solve puzzles. The person in the photograph proposes a narrative that we as viewers instinctively begin to construct. Who are these women? Where have they come from? What era do they represent? - Although the language of Brotherus’ photographs is completely recognizable as hers, the starting point of the series is a new one, formed on the site. “I seek, do, find - and take pictures. I don’t interfere with the space, but the human presence awakens it,” Brotherus says. - The photographs in Les Femmes de la Maison Carré are at once composed and natural. They are direct yet mysterious. They live in this moment and in the past. They effortlessly make use of the house and its surroundings. In practice, Brotherus walks into one of the most iconic buildings of modern architecture and makes the experience completely her own.
(Susanna Pettersson: The blank page, Elina Brotherus and human-enlivened spaces, in Elina Brotherus: Les femmes de la Maison Carré, Maison Louis Carré, Bazoches-sur-Guyonne and Galleria Heino, Helsinki, 2015.)

Elina Brotherus, Piscine, 2015

Pigment ink print on barytha paper from digital original mounted on aluminium and framed
70 x 104 cm
Edition of 6

he series Les Femmes de la Maison Carré is shot in the only building designed by Alvar Aalto in France, the Maison Louis Carré (1959) near Paris. Susanna Petterson, Director of the Finnish National Gallery Ateneum writes about the series:
The title, Les Femmes de la Maison Carré, spurs us to solve puzzles. The person in the photograph proposes a narrative that we as viewers instinctively begin to construct. Who are these women? Where have they come from? What era do they represent? - Although the language of Brotherus’ photographs is completely recognizable as hers, the starting point of the series is a new one, formed on the site. “I seek, do, find - and take pictures. I don’t interfere with the space, but the human presence awakens it,” Brotherus says. - The photographs in Les Femmes de la Maison Carré are at once composed and natural. They are direct yet mysterious. They live in this moment and in the past. They effortlessly make use of the house and its surroundings. In practice, Brotherus walks into one of the most iconic buildings of modern architecture and makes the experience completely her own.
(Susanna Pettersson: The blank page, Elina Brotherus and human-enlivened spaces, in Elina Brotherus: Les femmes de la Maison Carré, Maison Louis Carré, Bazoches-sur-Guyonne and Galleria Heino, Helsinki, 2015.)

Elina Brotherus, Salle à manger, 2015

Pigment ink print on barytha paper from digital original mounted on aluminium and framed
70 x 104 cm
Edition of 3
90 x 135 cm
Edition of 3

he series Les Femmes de la Maison Carré is shot in the only building designed by Alvar Aalto in France, the Maison Louis Carré (1959) near Paris. Susanna Petterson, Director of the Finnish National Gallery Ateneum writes about the series:
The title, Les Femmes de la Maison Carré, spurs us to solve puzzles. The person in the photograph proposes a narrative that we as viewers instinctively begin to construct. Who are these women? Where have they come from? What era do they represent? - Although the language of Brotherus’ photographs is completely recognizable as hers, the starting point of the series is a new one, formed on the site. “I seek, do, find - and take pictures. I don’t interfere with the space, but the human presence awakens it,” Brotherus says. - The photographs in Les Femmes de la Maison Carré are at once composed and natural. They are direct yet mysterious. They live in this moment and in the past. They effortlessly make use of the house and its surroundings. In practice, Brotherus walks into one of the most iconic buildings of modern architecture and makes the experience completely her own.
(Susanna Pettersson: The blank page, Elina Brotherus and human-enlivened spaces, in Elina Brotherus: Les femmes de la Maison Carré, Maison Louis Carré, Bazoches-sur-Guyonne and Galleria Heino, Helsinki, 2015.)

Elina Brotherus, Gymnastique, 2015

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

he series Les Femmes de la Maison Carré is shot in the only building designed by Alvar Aalto in France, the Maison Louis Carré (1959) near Paris. Susanna Petterson, Director of the Finnish National Gallery Ateneum writes about the series:
The title, Les Femmes de la Maison Carré, spurs us to solve puzzles. The person in the photograph proposes a narrative that we as viewers instinctively begin to construct. Who are these women? Where have they come from? What era do they represent? - Although the language of Brotherus’ photographs is completely recognizable as hers, the starting point of the series is a new one, formed on the site. “I seek, do, find - and take pictures. I don’t interfere with the space, but the human presence awakens it,” Brotherus says. - The photographs in Les Femmes de la Maison Carré are at once composed and natural. They are direct yet mysterious. They live in this moment and in the past. They effortlessly make use of the house and its surroundings. In practice, Brotherus walks into one of the most iconic buildings of modern architecture and makes the experience completely her own.
(Susanna Pettersson: The blank page, Elina Brotherus and human-enlivened spaces, in Elina Brotherus: Les femmes de la Maison Carré, Maison Louis Carré, Bazoches-sur-Guyonne and Galleria Heino, Helsinki, 2015.)

Elina Brotherus, La Vague, 2018

Pigment ink print on barytha paper from digital original mounted on aluminium and framed
90 x 67 cm
Edition of 6

he series Les Femmes de la Maison Carré is shot in the only building designed by Alvar Aalto in France, the Maison Louis Carré (1959) near Paris. Susanna Petterson, Director of the Finnish National Gallery Ateneum writes about the series:
The title, Les Femmes de la Maison Carré, spurs us to solve puzzles. The person in the photograph proposes a narrative that we as viewers instinctively begin to construct. Who are these women? Where have they come from? What era do they represent? - Although the language of Brotherus’ photographs is completely recognizable as hers, the starting point of the series is a new one, formed on the site. “I seek, do, find - and take pictures. I don’t interfere with the space, but the human presence awakens it,” Brotherus says. - The photographs in Les Femmes de la Maison Carré are at once composed and natural. They are direct yet mysterious. They live in this moment and in the past. They effortlessly make use of the house and its surroundings. In practice, Brotherus walks into one of the most iconic buildings of modern architecture and makes the experience completely her own.
(Susanna Pettersson: The blank page, Elina Brotherus and human-enlivened spaces, in Elina Brotherus: Les femmes de la Maison Carré, Maison Louis Carré, Bazoches-sur-Guyonne and Galleria Heino, Helsinki, 2015.)

Elina Brotherus, Salon, 2015

(part 1 of a diptych)
Pigment ink print on barytha paper from digital original mounted on aluminium and framed
60 x 90 cm
Edition of 6

he series Les Femmes de la Maison Carré is shot in the only building designed by Alvar Aalto in France, the Maison Louis Carré (1959) near Paris. Susanna Petterson, Director of the Finnish National Gallery Ateneum writes about the series:
The title, Les Femmes de la Maison Carré, spurs us to solve puzzles. The person in the photograph proposes a narrative that we as viewers instinctively begin to construct. Who are these women? Where have they come from? What era do they represent? - Although the language of Brotherus’ photographs is completely recognizable as hers, the starting point of the series is a new one, formed on the site. “I seek, do, find - and take pictures. I don’t interfere with the space, but the human presence awakens it,” Brotherus says. - The photographs in Les Femmes de la Maison Carré are at once composed and natural. They are direct yet mysterious. They live in this moment and in the past. They effortlessly make use of the house and its surroundings. In practice, Brotherus walks into one of the most iconic buildings of modern architecture and makes the experience completely her own.
(Susanna Pettersson: The blank page, Elina Brotherus and human-enlivened spaces, in Elina Brotherus: Les femmes de la Maison Carré, Maison Louis Carré, Bazoches-sur-Guyonne and Galleria Heino, Helsinki, 2015.)

Elina Brotherus, Salon, 2015

(part 2 of a diptych)
Pigment ink print on barytha paper from digital original mounted on aluminium and framed
60 x 90 cm
Edition of 6

he series Les Femmes de la Maison Carré is shot in the only building designed by Alvar Aalto in France, the Maison Louis Carré (1959) near Paris. Susanna Petterson, Director of the Finnish National Gallery Ateneum writes about the series:
The title, Les Femmes de la Maison Carré, spurs us to solve puzzles. The person in the photograph proposes a narrative that we as viewers instinctively begin to construct. Who are these women? Where have they come from? What era do they represent? - Although the language of Brotherus’ photographs is completely recognizable as hers, the starting point of the series is a new one, formed on the site. “I seek, do, find - and take pictures. I don’t interfere with the space, but the human presence awakens it,” Brotherus says. - The photographs in Les Femmes de la Maison Carré are at once composed and natural. They are direct yet mysterious. They live in this moment and in the past. They effortlessly make use of the house and its surroundings. In practice, Brotherus walks into one of the most iconic buildings of modern architecture and makes the experience completely her own.
(Susanna Pettersson: The blank page, Elina Brotherus and human-enlivened spaces, in Elina Brotherus: Les femmes de la Maison Carré, Maison Louis Carré, Bazoches-sur-Guyonne and Galleria Heino, Helsinki, 2015.)