Elina Brotherus, Model Studies, 2002–2008

Elina Brotherus, Model Study 17, 2005

Chromogenic color print mounted on aluminium, framed
80 x 60 cm
Edition of 6

Model Studies continues from where my earlier series The New Painting (2000-2004) ends.
Even more pronouncedly than the previous series, Model Studies is not about personal stories nor a documentary about someone’s life. The images have been constructed for visual reasons. My attention is attached to light, colours, the rythem of the masses, and to subject matters with classical notions. The figure often turns her back to the spectator. This gesture invites to a peaceful contemplation, not to a confrontation.

Elina Brotherus, Model Study 18, 2005

Chromogenic color print mounted on aluminium, framed
80 x 61 cm
Edition of 6

Model Studies continues from where my earlier series The New Painting (2000-2004) ends.
Even more pronouncedly than the previous series, Model Studies is not about personal stories nor a documentary about someone’s life. The images have been constructed for visual reasons. My attention is attached to light, colours, the rythem of the masses, and to subject matters with classical notions. The figure often turns her back to the spectator. This gesture invites to a peaceful contemplation, not to a confrontation.

Elina Brotherus, Model Study 14, 2004

Chromogenic color print mounted on aluminium, framed
70 x 49 cm
Edition of 6

Model Studies continues from where my earlier series The New Painting (2000-2004) ends.
Even more pronouncedly than the previous series, Model Studies is not about personal stories nor a documentary about someone’s life. The images have been constructed for visual reasons. My attention is attached to light, colours, the rythem of the masses, and to subject matters with classical notions. The figure often turns her back to the spectator. This gesture invites to a peaceful contemplation, not to a confrontation.

Elina Brotherus, Model Study 7, 2004

Chromogenic color print mounted on aluminium, framed
80 x 113 cm
Edition of 6

Model Studies continues from where my earlier series The New Painting (2000-2004) ends.
Even more pronouncedly than the previous series, Model Studies is not about personal stories nor a documentary about someone’s life. The images have been constructed for visual reasons. My attention is attached to light, colours, the rythem of the masses, and to subject matters with classical notions. The figure often turns her back to the spectator. This gesture invites to a peaceful contemplation, not to a confrontation.

Elina Brotherus, Model Study 11, 2004

Chromogenic color print mounted on aluminium, framed
70 x 75 cm
Edition of 6

Model Studies continues from where my earlier series The New Painting (2000-2004) ends.
Even more pronouncedly than the previous series, Model Studies is not about personal stories nor a documentary about someone’s life. The images have been constructed for visual reasons. My attention is attached to light, colours, the rythem of the masses, and to subject matters with classical notions. The figure often turns her back to the spectator. This gesture invites to a peaceful contemplation, not to a confrontation.

Elina Brotherus, Model Study 1, 2002

Chromogenic color print mounted on aluminium, framed
105 x 84 cm
Edition of 6

Model Studies continues from where my earlier series The New Painting (2000-2004) ends.
Even more pronouncedly than the previous series, Model Studies is not about personal stories nor a documentary about someone’s life. The images have been constructed for visual reasons. My attention is attached to light, colours, the rythem of the masses, and to subject matters with classical notions. The figure often turns her back to the spectator. This gesture invites to a peaceful contemplation, not to a confrontation.