Elina Brotherus

Before researching Elina Brotherus’ ‘Annunciation’ series, I decided to take a look at her images using a general image search. Although some humour is evident, many of her self-portraits, set in either stark interiors or rugged landscapes, evoke feelings of pensiveness, soul searching and being lost, in an emotional sense. It makes me wonder if the abandonment of clothing is a bid to find herself, clothing has a way of making us feel a certain way, the materials and colours all adding to our mood and perception of who we are; a lack of clothing leaves only our inner selves.

Brotherus’ images have a distinct rawness to them, which makes them believable; in her series, ‘Artist and her Model’, among other series, the wire from her remote shutter is clearly visible, either in her hand or underfoot. Many of her images in series such as ‘Études d'après modèle, danseurs’ and ‘Artists at Work’ also have a voyeuristic feel to them; Brotherus expresses an interest in the evocation of the question; ‘who is watching who?’

Brotherus’ Annunciation series is a sequence of images taken over many months of the photographer’s attempt to become pregnant, eventually leading to IVF treatment. The images show Brotherus, having just used that month’s test, sitting on the bed, by a window, at the dining table, clearly taking in the knowledge that conception yet again, hasn’t happened. The changing hairstyles and times of year show the passage of time in which Brotherus over and over again, feels that same sadness. The series, and the given title show stark contrast to the religious story of the Immaculate Conception, the ease of the Virgin Mary’s conception further highlighting the feelings of hopelessness in her own situation. 

The inclusion of this series in ‘Home Truths’, (an exhibition by Susan Bright on photography, motherhood and identity) strengthens the challenge these images have on perceptions of the word mother; ‘suggesting it can come from intention rather than being bound to biology or the physical act of having a child.’ Bright 2013

Brotherus herself speaks of the loss felt due to a failed treatment, comparing it to grief:

‘…one’s imagination is quick. One thinks of names and to which school the child will go. When the treatment is unsuccessful, it is not exaggerated to say it feels like mourning someone who died.’ Brotherus 2013

The series has lead me to question what is a mother; Brotherus has put considerable time, effort, love into creating a child, more than most would have to. If this doesn’t make her a mother, where is the line drawn, if a woman has carried a child but miscarried, if a baby is still-born or if someone suffers the loss of a young child; is she still a mother?

One image ‘Epilogue’, seen while researching the photographer, really struck me; it shows the artist with a man behind, holding her head in gloved hands. The image represents the end of their relationship and having agreed to partake, Brotherus describes the inclusion of gloves as being because the person always arrived by cycle so often wore gloves. In her interview for ‘Art Babble’, she explains her intentions, for her; the gloves represent ‘the impossibility of the contact’. Brotherus 2012

Brotherus is adamant that her images should be taken as they happen, not staged; she puts great importance on her images showing a stark reality, their strength coming from them being genuine.

My personal reaction to this image was strong; a vulnerable, naked woman, clearly upset by what she sees but being made to look directly at it by the gloved hands. The dark, thick clothing and sturdy, leather gloves give an impression of strength and power, while the positioning of the hands seems more nurturing; almost as if she were being forced to see for her own good. It could be that she is looking at her future, changed as a result of the break up but also for me, although it is taken much earlier, this image sums up the way that I imagine Brotherus would feel when taking her pregnancy tests, forcing herself to look at that small stick, knowing how much it could hurt her again and again, month after month.

References

§  Brotherus E. (2013) Brotherus – GB Agency [online]. At http://www.galleriesinparis.com/exhibitions/brotherus-gb-agency/ (accessed 31/8/15)

§  Brotherus E, Elina Brotherus [online]. At http://www.elinabrotherus.com/photography/index.php (accessed 31/8/15)

§  Bright S. (2013) Home Truths, Photography, Motherhood and Identity [online]. At http://thephotographersgallery.org.uk/photography-motherhood-and-identity (accessed 31/8/15)

§  Kogi M (2012) Elina Brotherus: It’s not me, it’s a photograph [online] http://www.artbabble.org/video/louisiana/elina-brotherus-its-not-me-its-photograph (accessed 31/8/15)

§  Sharon (2013) Home truths (photography study visit) [online]. At http://weareoca.com/photography/home-truths/ (accessed 31/8/15)

§  Undo.net (2012) Elina Brotherus [online] http://www.undo.net/it/mostra/147444 (accessed 31/8/15)