Radio interview by Ann Journéus at Radio P4 Halland.
In Swedish: http://t.sr.se/1ZARaEO
In connection with the opening of YTSPÄNNING (Surface Tension) at The Arthall, Hishult, Sweden.
January 16, 2016
When everything is beautiful and transparent,for instance at a swimming pool in Sonoma County,
California, under the sun, close to the vineyards and surrounded by people in summer clothing,
then there could be a shadow down in the water. It might be felt like a need for blackness in a
world where everything is shiny. So the small world becomes a mirror of the greater world.
Stina Brockman has explored the nuances of shadows. Photographs of inner experiences, of worries,
ecstasy, inhibition, omnipotency, roughness… She has during many years conveyed the experience
that life, the human being, is so much more than the obvious, and what is hidden might be of a
Brockmans photographs blurs the differences between outer and inner realities, they are open to
associations and new contexts. The floating bodies, reflections in the water, obscure landscapes
invites to our own experiences. She takes an interest in what is behind norms and conventions,
investigates for instance hidden aspects of masculinity, of being vulnerable, of aggressiveness or
Stina Brockman has had solo exhibitions at Modern Museum, the Culture House, Stockholm, and at
the Malmö Art Hall. She has exhibited at Hasselblad Center, Gothenburg and in several other
countries. She is well known for her integrity and her originality and also for the emotional quality
in her photographs. From the 1970s -1990 Stina Brockman used big format cameras and old
photographic methods in order to create a more nuanced artistic language.
Today she is focused on digital techniques and uses diffusions and blurred distortions to tell new
stories. Brockman stretches the limits by using the defects of the techniques to create new
sensations. She looks for the shortcomings in digital techniques to create qualities that are
beautiful, expressive and useful. Her narratives, portraits, landscapes, and glimpse of human
darkness forces the viewer to rethink questions about life.
While working with digital photography, it is important to do it right. In this ongoing series Frailty, from 2013, I have tried to make it the “wrong” way, a work with technical defects. It is a search for errors with a value, defects that adds something and, the motives are men.
The photographs are in size 105cm x 125 cm or larger. Some of them appeared 2014 in the exhibition “The Visible – Swedish Contemporary Photography” at Artipelag, Stockholm, Sweden.
“Today Brockman focuses on digital techniques and use different types of fuzziness and lack of sharpness to tell stories about the man. Digital technologies have taught her to push the boundaries and use the shortcomings of digital photography to create new sensations. Brockman searching among technical deficiencies, for properties that are beautiful, expressive and useful. ”
This series were made when I was home with my son in the early 1980´s. I was interested in old photographic techniques, large format cameras and old, really soft, portrait lenses. It was a quality in these methods that gave a me lot of inspiration.
I wanted to make work that was relevant throughout the years, they would not be easily determinable in time, or reflect the 80’s.
These portraits, of my friends or people I just met somewhere in Sweden, would reflect the feeling of “waiting for life to begin.” This was the age when one can experience life as infinitely.
The older technology, with one 8×10 inch negative at a time in the developing tray, old classic photographic papers and, home-mixed paper-developer, was a slow method that suited me just fine at the time.
This series are published in my new book “The Sensation of Falling” published by the German publisher Kehrer Verlag. The book contains parts of nine series, which all circle around the body.