invited guest: Tuija Lindström

I am proud to present Tuija Lindström on The F Blog. She was born in Kotka (Finland) but educated at University College of Arts Crafts and Design ("Konstfack") in Stockholm during 1981-1984. From 1992 to 2002 Tuija was professor of Photography at Gothenburg university. Tuija is one of the most recognized and influential Swedish photographers. Some years ago I discovered her photobook "Tuija Lindström" and was very fascinated by the interesting and beautiful photographs. Unfortunatly I was not able to visit her large exhibition at Liljevalchs konsthall, an art gallery in Stockholm, in 2004, so I am very glad that Tuija selected some of her work shown at that exhibition for The F Blog. Now I leave the word to Tuija herself:

A report on searching for the original(s)originalnoun (plural originals)
1. first version: the first or unique item from which copies or alternative versions are made.
2. authentic piece of art: a genuine work of art, and so not a copy or forgery.
3. eccentric person: an unusual or eccentric person.
4. creative person: a person of outstanding creativity or revolutionary thinking.

"Jussi". © Tuija Lindström, 1981.

"Tuittu". © Tuija Lindström, 1991.

"Sandemar". © Tuija Lindtröm, 1991.

In this task – not unlike that of a private detective – an inhuman persistence developed which, strangely enough, was combined with a tremendous impatience. In order to be able to maintain a balance between these polarities required an exceptional and constantly present attentiveness, which was naturally experienced as very tiresome. But at an early stage there was the promise of brilliant research results – though no secret was made of the fact that this would necessarily entail a massive loss of energy. When important discoveries were made, these losses were rewarded by a momentarily heightened mood. It was also possible to discern an increased sense of satisfaction the closer to the goal one got. During the duration of the process an unusual attraction to nature developed – morphological* research dominated the fieldwork for several years. Like Goethe’s original research into morphology, clearly illustrates nature from the dynamic movement that is native to growth in plants; two distinct leaves are united in a series of transformations that have their origin in a deeper generative movement.

Photo from the exhibition at Liljevalchs 2004. The serie The Girls At Bull´s Pond.

"Red iron". © Tuija Lindström, 1991. From the serie The Girls At Bull´s Pond.

During the period the current research method was re-evaluated and tested innumerable times; for example the raw material was introduced into various signifying contexts – only for us to discover that research directed exclusively at the outer form gave practically no results. This led to periods of serious depression and the research was considered to be of no value.

"With guide on the beach". © Tuija Lindström, 2000. In cooperation with Jesper Örtman. From the serie Look at us.

"At the border". © Tuija Lindström, 2000. In cooperation with Jesper Örtman. From the serie Look at us.

"Stork". © Tuija Lindström, 2000. In cooperation with Jesper Örtman. From the serie Look at us.

An uninterrupted period for working was guaranteed which made it possible to penetrate more deeply into the subject. The research was then resumed in the immediate neighbourhood finally expanding to cover a vast terrain. The study of speed acquired greater space which, ironically, led to massive delays in publishing the results. One of the important discoveries was that immobility transforms life into particles and the increased rapidity transforms the speed into a synthetic movement. Another important observation was – when all the basic data had been put together – that everything exists. Now it was finally possible to publish the work. But one must add that the final result in no way matched the expectations that were had at the beginning of the process. It was possible to ascertain that the previous value system lacked any foundation and it was therefore realized that the project could not be evaluated. Which is not to say that the research was without value.
- Tuija Lindström

Photo from the exhibition at Liljevalchs 2004. The serie 12 fractals of one Plant.

"Fractal 1". © Tuija Lindström, 2004. From the serie 12 fractals of one Plant.

"Fractal 2". © Tuija Lindström, 2004. From the serie 12 fractals of one Plant.

Invited by Fredrik Skott