Seabound by Elina Brotherus

Elina Brotherus’ new photobook, Seabound, is visually arresting…

…she photographs herself in varying landscapes by the Norwegian coast line, which the review of the book points out is the second longest in the world due to all the nooks and crannies… stretched out in a straight line it would wrap around the earth two and one half times…

… i am struck by the very painterly nature of the images… landscapes with her singular figure in the midst… i am struck by the carefully thought out wardrobe, clothing always chosen to match or contrast colors in the photograph… each photograph is meticulously framed, i am guessing she works with a large format camera?…

Like many of Brotherus’ past works, Seabound holds strong links to wider visual contexts, especially those found in art history. When she first arrived in Kristiansand in the winter of 2018, Brotherus visited the Sørlandets Kunstmuseum (the Southern Norway Art Museum), searching for historical depictions of the area. In the museum’s 19th-century landscape paintings, she found dramatic, romantic, and intense reflections of the coastline, a style that is echoed throughout Seabound. In doing so, Brotherus ties herself, and her images, into the wider context of Norwegian art history.¹