Alvdalen Art blog Brad Feuerhelm Documentary Elf Dalia Feature Featured Heritage and Photography Highlights Interviews Mack Magic and Photography Magick Maja Daniels natural magick Other photobook reviews Photography and culture Photography and Text Photography Interview Swedish photographer Swedish Photography Tenn Lars Persson The Real Photography is Magic

The Elf Dalia Interview – AMERICAN SUBURB X

Maja Daniels work is somewhat arduous to pigeonhole. Its neither archival, nor documentary, yet shares some honest analysis into both traditions. Her guide Elf Dalia (MACK) is a journey by way of her personal native Sweden, but in addition the work of another photographer by the nam of Tenn Lars Persson whom Daniel’s in effect has resurrected. She has mixed her personal work together with his archival imagery and the result’s a cryptic journey by means of Nordic rites, customs, but in addition the land from which they both find their roots. She covers regional language, but in addition regional custom and has joined the past with the present when it comes to photographs to a really successful degree. Maja was type sufficient to talk with me on many issues including images, but in addition ritual, customs and isolation….

BF: The first question that I needed to present to you regards using the archive. On your ebook Elf Dalia, you have been capable of juxtapose your pictures that you’ve taken from the exact same space during which Tenn Lars Persson had made photographs almost a century before. In impact, what you’ve got gone is to re-engage the ghosts of the previous found in his negatives with your personal work, intertwining the pictures into a semi-historical doc culminating within the e-book itself. What strikes me as fascinating about using archive materials and one thing that has an almost supernatural disposition is the best way during which two authors (on this case) are capable of talk via their images-indicating an almost necromantic facility by which the voice of the lifeless is in trade with the voice of the dwelling. This supernatural phenomenalization of your work is probably slightly in the direction of the ostentatious, but in effect there do seem to be mechanisms as work suggesting a deeper dialog between your self and Persson who in response to your personal research additionally had an interest in occult affairs. When making the work, did you begin together with his archive or had you already been concerned with the method of creating pictures if you found the work? Additional, in the event you had recognized of his work whereas processing Elf Dalia, have been his photographs or the rhythm during which you have been forming a new narrative current once you have been assembling it? Did you’ve past expertise in utilizing such an archive? What circumstances have been to be met for you to use the work and the place was it sourced?

MD: I started making work in Älvdalen in 2012 and found the archive of Tenn Lars that same yr. A couple of photographs within the ebook have been made previous to the discovery, however my entire six-year-long means of putting this work together has been very much centered on the communication between his work and mine. His pictures have influenced the best way I make pictures and the sequencing of the work has been developed with this conversation, or respiration or co-existence in mind.

My initial want to make this work was my connection and fascination with the language. A language that has existed in my household for tons of of years but that I do not converse. When excited about the right way to categorical the thought of language visually, the blending of the content material and the form turned more and more necessary. The more I started to interact with the various elements round language (dialogue, conversation, expression, assertion and so forth.) that this e-book is about, the more this connection between content material and type grew. For starters, it had to be a e-book; an intimate studying within the shape of an expression that’s the most personal to me; images, however it wasn’t until Tenn Lars’ pictures got here into the picture that it all started to actually make sense to me. That is really a dialog of types. A mute one because I do not converse Elfdalian and visible expression is a fitting communication software on the subject of preserving pressure and thriller, but in addition, in fact, because Tenn Lars and I didn’t have any typical communication-capacities at hand. My goal has been to create a performative area where, as you say, the ghosts of the past can co-exist with modern life. Once I first noticed Tenn Lars photographs I felt the connection right away. There was a resistance in his work that I recognized in my very own. I felt “at home” one way or the other and utterly comfy with the large and scary process (someone else pointed this out to me a lot later) of putting my modern work alongside the lifework of somebody who had been lifeless for a century and whose photographs already had the “power” of age- Plus, they have been usually distinctive.

I have tried to think about the idea of language as a method of referring to what a ‘magical experience’ might mean in the modern world. This, to me makes the thought of magic much less about one thing supernatural or mystical, or a facet of recent or post-modern disaster, however moderately focuses on an emotional relationship with place via notions of ancestors, people beliefs and myths. By mixing my modern pictures with Tenn Lars’ archive my goal was to attempt to carve out a timeless area whereby mystery, unusual events, becomings (previous turning into current and vice versa, man turning into animal and so on.) and humour can co-exist and where we will think of a ‘magical experience’ as a artistic expression, a kind of language.

Through the three years once I was dwelling in the cabin in Älvdalen, longer durations of time have been spent modifying, merely wanting on the 5000 glass plates I had been handed on a USB stick and understanding ways to create connections. The Elfdalen Heritage Basis, who’re the keepers of the archive (Tenn Lars was one of the founders of the Basis) even have a somewhat in depth collection of written paperwork by Tenn Lars, mainly revealed articles within the Foundations’ biannual publication. I hung out going by means of all of those publications, specializing in Tenn Lars’ writings to actually take up his spirit. The publication publishes loads of oral historical past, previous tales and documented experiences from Älvdalen. This was one among Tenn Lars’ largest passions; to inform and retell stories. Typically they have been humorous, typically witty and typically slapstick. In parallel to this Tenn Lars also wrote articles on the subjects that him, the span is large and encompasses articles from “the power of the moon on everyday chores” to extra technical texts describing “old techniques of iron production”.

I take the danger of sounding a bit bizarre now but I do truly feel as if I’ve met Tenn Lars. I do really feel like I know him and that he was there with me making this work. Additionally, risking sounding even weirder, my mother went to see a medium (who had no information about her in any respect, nonetheless about me and I ought to say that my mom and I do not share the same surname) to channel some spirits (she does this occasionally). What she received was “a message to pass on to her daughter” from my great-grand father saying he was pleased with my work, followed by one other message directed to her; that she shouldn’t worry, he was taking care of me. Right now I had left my life in London to go stay in a small cabin within the woods to develop this work. The cabin was not essentially match for winter dwelling but I used to be cussed and didn’t care much concerning the slightly difficult (troublesome?) points of on a regular basis dwelling. On the time my mom thought I had gone slightly mad however the message from the medium calmed her down. I, however felt protected and relaxed, despite being alone and a bit “out there” in the course of the winter months. I was dwelling within the 400 year-old log cabin that my great-grandfather had grown up in and could perhaps really feel his constructive vibe. So, if he was hanging out with me, I am pretty positive Tenn Lars was in the neighborhood as properly…

Tenn Lars was interested by what was referred to as natural magic on the time and this might encompass both science and the occult (information round astrology, alchemy, the hidden power of crops, animals and stones). Regardless of solely five years in class, he pursued self-studies to turn out to be an electrician, optician, inventor, photographer and a scientist. In many ways he was a wizard of his time. He brought electricity to Älvdalen and would invite locals to attend lectures in his workshop where he would reveal how sure issues worked (even deliver electrical shocks to the locals if they paid a couple of cents), converse concerning the photo voltaic system and the magnetic power of the moon. He was clearly very in the moon however this was perhaps not so strange considering how the moon has played an essential part in pagan rituals for ages, but in addition how science in the 1900’s had found new and thrilling methods of partaking with the moon. What is more distinctive to me is that he taught himself learn how to construct cameras and lenses and then built a telescope to photograph the moon. The unknown fascinated him, perhaps obsessed him and I’ve all the time felt that approach as nicely.

The individuals operating the Native Heritage Basis have been encouraging about my engagement with the archive. I approached them with help from sure international connections who had shown early curiosity in the work in order that they saw it as a risk of sharing the unknown work of Tenn Lars to a wider audience. I made it very clear from the beginning that my strategy was going to be an inventive one, the place I needed to applicable the work and combine it with my own. I am not an artwork historian who would concentrate on the work in a more classical method, however I also tried to emphasise that I hoped that additional engagements (perhaps by way of me however not necessarily from me) might come out of this first stage. I additionally held school-workshops with Älvdalens’ 10 and 11-year-olds the place they, too, received the prospect to “activate the archive” and make their own stories based mostly on Tenn Lars’ photographs. It was in style mainly as a result of the archive is so splendidly unusual, not just to me but to most people who start to interact with it. Tenn Lars is displaying off so lots of his own interests and ruminations within it in addition to his sense of humour and wacky character.

I had no earlier experience in working with archives however I feel it’s one thing I am desirous about taking further because it has such an exquisite method of creating connections to each the previous but in addition to the longer term. It could possibly also serve as a approach of resolving a number of the points that I’ve had up to now on the subject of carving out a artistic area inside images that goes past the silly dichotomy of reality and fiction. Most of my attempts to make work after this experience is partaking with archival material, each nonetheless and shifting. My most recent addition to this work is a video installation piece the place I’m revisiting my own archive of video footage that I collected obsessively but aimlessly throughout a interval in 2015-2016 but then left to be processed by time. I collaborated with a sound artist, Jonathan Maurice, who had emailed me out of the blue a number of years ago with an entire playlist of sounds that he had made inspired by my image of the boys sitting on the automotive burning tires (it’s in the ebook). I beloved the sound-scapes he had created and I additionally loved the truth that the connection between us had come out although the work in such a spontaneous means. I asked him if he needed to collaborate and he immeadiately stated yes. We used his sound-scapes as a guide, allowing for them to paved the way for the visuals while mixing them with audio and interviews that I had collected from Älvdalen through the years. In fact the recordning of Tenn Lars from 1935 where he speaks concerning the fantasy about ”The Black E-book of Magic” in Elfdalian is in there. In a means the spontaneous means of contamination and co-existing that we adopted in making the video piece is just like the best way I have labored with Tenn Lars pictures.

BF: That’s an unimaginable, almost epiphanic quantity to digest. I should decide by way of all of this a bit bit to pose more questions. The first thing in your response that struck me as fascinating is how you confer with the work of Tenn Lars-it is nearly as if the channeling and use of his archive casts a longer shadow of the body of work than the whole, which incorporates your photographs, which I happen to seek out quite spectacular. I consider you’ve fallen in love with a lifeless man! In all seriousness, this idea of the way you commune, not commicate together with his work is fascinating. The bond between stretches previous ”within the custom of” and becomes its personal highly effective dialogue concerning the endurance of customized, but in addition image and personal mythology.

The second thing that I picked up on about Tenn Lars is that he should have been one thing of a polymath. I might beloved to have seen his library, impressed fancy in no small doubt by John Dee and Leonardo Da Vinci, volumes situated with little doubt amongst older extra regional moon magic observers. The moon makes reference throughout the historical past of images from Whipple to de La Rue via to Pierre Molinier (another mystic who solely printed by moonlight, so the mythology goes), and forward to 1969. These natural magick parts are current in our histories much longer than we suspect and find their roots in ante-diluvian literature and additional back in the literature of stones found in numerous historic sites all through the planet.

The third concept I took from your response was about how images, language and magick all have an in-built, but various system of relation to perception and communication and the way those three contributions posit a drive that is mixed in your work to supply a mystical setting during which, despite the interest in the science of astronomy counters the paradigm of perception. Science is one way or the other at struggle or peace with the pure magick of the textual content and the pictures. I see it within the effluvial wanderings of light leaks in each the pictures by your self and Tenn Lars-these spindly tentacles of effervescent fluid which mark the ”realities” of the topic of photographic investigation. This perplexing mixture begs us to ask the question of what defines history from mythology in conventional environments and the way can we come trust or mistrust the language of images, the language of folklore, the language of historical past and eventually, the language of language itself?

What have been probably the most difficult parts of creating this undertaking? Was it placing an end to it? Was it determining the best way to edit the pictures? Was it gathering the expertise to easily create the pictures themselves or maybe studying the several languages (image, folkloric and Elfldalian) of Tenn Lars, himself? Do you are feeling that you’ve taken from Tenn Lars or that perhaps, he beyond mortality has taken from you, claiming you as a descendent by which his work rises yet again from a place of unknowing?

MD: The connection goes past image-making for positive! Perhaps it is religious, philosophical or in all probability both. I don’t know if love is the phrase I’d use however an entire sense of understanding or of “getting him” for positive. It is virtually as if we share the same religious artistic lineage of types. As if he’s my wacky ghost-uncle, or brother, or, properly, perhaps ‘soul-mate’ but with an emphasis on ‘mate’ as in pal. But, positive, there is an element of attraction there… I’ve all the time been drawn to people who are brazenly interested by life, who try to get their head around the massive questions, and the small questions and every part in between and the archive Tenn Lars left behind screams of curiosity and a deep fascination with the unknown. I think of our encounter as a “coming home” epiphany of types, of completely getting it (his work), but in addition of creating sense of my own trajectory up till that point as properly. Having left Sweden quite young to go research abroad, I instantly and unexpectedly found myself within the stomping grounds of my ancestors feeling at residence and making work that appeared significant to me after a period in London feeling suffocated within a superficial “struggle of surviving” inside the rising bubble of gentrification. I had shared too much area with too many center class individuals consuming flat whites within the epicentre of capitalism, who had misplaced interest in questioning the roots of their privilege. My involvement with Tenn Lars’ work (and how that drove my want to make my very own work) turned a vessel that allowed me to find a “way out”. I am endlessly grateful.

Tenn Lars has been described as “an original” by fellow locals. A sort and useful man with heaps of data to share. Älvdalen nonetheless has its justifiable share of eccentrics and general I have not witnessed a particularly robust want to slot in amongst the locals. Relatively the other truly. In Älvdalen there is a actual sense of satisfaction in being totally different.

I’m actually glad you point out the connection between language, images and magic as instruments which have the capability of countering the thought of ”the given”. To me, science matches in there too. Usually, I feel we are likely to ascribe an excessive amount of fact to science lately. It has in some ways turn into the alternative of faith when it comes to being something unquestionable. Coming to images and art via sociology, a number of my studies have been focussed on unpicking the thought of science, wanting at the random nature of science-making (from the very nature of experiment in fact, but in addition taking a look at how figures and numbers later ascribed to human behaviour – hoping to make sense of it – are literally produced), and making an attempt to interrupt down the barrier that ’Science’ has constructed up around itself. Having participated in ”making” science up to now I am very conscious of its ”artistic” too typically hidden elements. Anyone who has dealt with creating statistics for instance knows how malleable a activity that is. To me, science is a much more artistic and human endeavour than what science tries to be or appear to be (and I feel the sector of STS -Science and Know-how Research – with Bruno Latour in the forefront are doing an essential job in unpicking this and creating seen parallels between science-making and art-making).

Having stated that, I really like your reading of the light-leaks that appear all through the e-book as these hints of ”realities” that question. Like some type of ghostlike conscience that pops up and asks the reader to query what’s being introduced to them. To me, the direct engagement with particular occasions from Älvdalen’s previous are grounded in an urge to query them, to look once more and to look in another way. These “leaks” turned a means for me to allow for one thing else to be present in the work, to hover over it and to call for a certain hesitation, an unknowing of what we know as ‘History’, or of the photograph as ‘document’.

Historic events spotlight a robust native resistance in Älvdalen and the language has clearly played a big part on this resistance. For example, Älvdalen was the place where the Swedish witch-hunts kicked off in 1668. It was the beginning of a period referred to as “The Great Noise” in Sweden and it began with 19 women and one man from Älvdalen being accused of getting carried out witchcraft. They have been all found guilty and executed, beheaded and then burned. The first woman who was accused to be a witch was the 12 year-old Gertrud. A young boy accused her of walking on water. The picture and story of Gertrud actually etched its approach in to my mind. Partly for its spiritual connotations and visual ‘strength’ but in addition as a symbolic reminder of how History is made. The incontrovertible fact that there was this mass-hysteria that broke out in Älvdalen within the mid 1600s whereby youngsters performed an important position in helping the Church determine who was ”good” and who was ”dangerous” (they have been the only ones innocent enough to know who had been copulating with the satan) highlights something revealing about how threatening this place was to the authorities. The Church recruited “wise-boys” whose job it was to identify the witches. The sensible boys would stand outdoors the doorway of the church subsequent to the priest and point at individuals who would then be arrested. Principally the stationed priest had a very exhausting time ”controlling the Elfdalians” because they didn’t converse the identical language as him. I have gone by means of the correspondence between this regionally stationed outsider priest and the ”head” priest in Stockholm and the reading is both revealing and scary but in addition unusually ”modern” in its depiction of ”the other” and the need for the authorities to regulate him/her. Native resistance is usually represented traditionally as tragic occasions because of the repercussions (punishment by the state/rulers) of such resistance. The concept of paganism, spirituality or witchcraft has subsequently been given unfavourable and “dark” connotations historically. To me nevertheless, the “darker” durations within the historical past of Älvdalen clearly characterize resistance, power, resilience and hope.

By re-imaginging local history and appropriating Tenn Lars’ pictures I am in some ways providing up new readings that in flip opens up to multiple extra readings. I would like the work to question both that, which has already been established as recognized and that, which has been discarded as not recognized or not true. By restaging the act of taking a look at these archival photographs, I discover that it supplies and fascinating method of reinforcing both presence and absence, to make totally different layers of which means and to allow for the viewer to employ their very own creativeness in relation to concepts concerning the past and how we historically tend to think about “the Archive” as a one way or the other neutral area. In fact it isn’t. The brief text behind the ebook serve as a touch to some events from the previous that, for my part, make a robust case for the slippery and constant connection between what’s established as recognized or unknown.

As for probably the most difficult parts of creating the undertaking, I feel it have to be the modifying. Lots of pictures have been discarded from the e-book for very delicate causes. Slight differences in temper or environment might shift the entire reading. Nevertheless, I am now reusing a number of what acquired filtered out in the totally different iterations of mixing our works. For instance, a few of the photographs that were not included in the guide have now found their means into totally different exhibition instalments of the work the place the pictures have to serve a really totally different perform than what was needed inside the narrative created for the ebook. The “getting of” Tenn Lars and his world was instinctive, it didn’t feel difficult or troublesome at all.

BF: Sure, dogma, faith and science are kith and kin and refuse to disentangle themselves from the human drawback that created them. All are simply a fabricated system for humans to thwart their own mortality in a foolish quest for one thing “more” after our corporeal dissolve. We spend life preventing so onerous towards the thought of demise that we allow a paperwork to extol pain, violence and refuse the present of humility to at least one one other is a desperate quest to be “right” about our fragility. I are likely to assume the paranormal character of many philosophies helps to focus between materiality in the service of alchemy, a deeper appreciation of the bodily existence and in addition the celestial, astrological and so on the place the grandeur of our perception of the bodily universe is honoured as the present it is with out this mortal crutch of complacent denial of its finitude. This is how we come to homicide younger women accused of strolling on water. That being stated, that concept of murdering witches and so on has a really lengthy tradition, which is not limited to the worry of the supernatural, but presents an overriding and uncomfortable misogyny. Men have been not often accused of the same supernatural prowess and once they have been, they have been merely labelled as visionaries, prophets, magicians and so forth.

On the purpose of modifying and having some access myself to working with archive imagery, I discover that you’ve accomplished an awesome job in modifying the 2 our bodies of work into one ebook. You might have a couple of troublesome ideas that you need to have overcome from the debating nature of monochrome and colour, the presentation between conceptual levels-the magical and scientific and in your work the compunction in the direction of portraiture. The obvious overriding function is that of time. In a means, the hole you bridged is type of an replace on the world and a continuation of Tenn Lars’ own archive. It definitely provides to the folkloric features of the Alvdalen individuals. I needed to ask about your personal interest in spirituality. Did you come from a Judeo Christian background? Do you will have a perception system and in that case have you begun to re-examine by way of this process what your beliefs may be now? I truly needed to reference a film that I slightly enjoyed referred to as The Ritual, which uses Sweden as a backdrop for what is turning into the natural chic and its horrific tendencies. There’s faith concerned, nevertheless it’s a lot older and sinister. I reference it principally to see when you’ve got seen it, however to also speak extensively on Nordic beliefs and your place within them.

MD: Sure, time! What a captivating concept it’s. For a while when leading up to making this work, I felt increasingly irritated at how the concept of time and images are historically coupled collectively and how images gets interpreted in relation to time as one thing static. For me, images gets related with time in its very lively chopping of it. By dislocating the continual movement we still create a very specific material rootedness in time that make us, form us as ‘selves’. Once we minimize time, we’re doing one thing; it’s an lively and necessary follow of ‘sculpting’, giving form to something very particular. Within the reduce we make certain connections while we separate others. Images seems to have an effect on me probably the most when the stability between revealing and concealing are really pushed and experimented with. For me, it isn’t nearly what a photograph exhibits or represents but what it does. As an alternative of simply considering of images in relation to the passage of time and dying, it may also be seen as an important strategy of life making. So once you prompt earlier that I may need introduced some ghosts from the previous to life inside this work, I’m happy to hear that since I’ve actively tried to think about the photographic medium as a software that may make totally different connections outdoors of the normal linear understanding of time. Because of its mute and mysterious nature it has the potential to carve out new passageways in life and of life and because it does it may move us and make us transfer in numerous ways.

Once I was dwelling the cabin Tenn Lars work moved me to consider time in new ways for positive. The consideration delivered to the materiality of the photograph (its fragility paralleled to the fragility of a language that’s near-extinct), excited about how one can incorporate the weather in the actual image-making (extraordinarily long exposures, creating light-leaks and so on.), all of these ‘experimental’ makes an attempt strengthened my connection to the work of Tenn Lars. The approach that he was excited about pure magic and the way he approached it, mixing astrology, scientific experimentations with electrical energy and images as well as partaking with the previous myths, fascinated me. Abruptly it seemed completely logical to me that the gravity of the moon might have an effect on my life in the identical means that it used to play an necessary half in peoples lives and inside pagan rituals. It was commonly “known” previously that duties reminiscent of fishing or chopping wooden would have totally different results depending on how the moon was positioned in relation to earth.

My easy ‘being’ in nature additionally affected my relation normally to time. Time within the forest features on so many various ranges. In some respects it goes quicker and in other respects it is much slower than it might ever do in a city. The forest (the panorama) came to characterize this ‘constant’ inside the e-book in relation to time and to the language. That is also how and why the text referred to as Myriadmouth written by Swedish writer Andrea Lundgren came to be. It was the very last thing that was added to the work after fairly a long time of contemplation of methods to incorporate some type of third perspective (in order to keep away from making the guide too dualistic as in me vs. Tenn Lars, black and white vs. colour) into the guide. Andrea had beforehand written both concerning the forest but in addition a set of essays (referred to as ‘Nordic Fauna’) whereby seemingly mundane (at first) depictions of family relationships causes her characters to rework into totally different animal beings. Man turning into animal. As I found her writing, I was actually captured by her method of approaching one thing mystical and strange in such an easy and right down to earth type of means. I approached her and shared a number of my analysis together with her. Fairly early on into our conversations, Andrea spoke about an ongoing ambition of hers to write down a conjuration (incantation? Spell principally, unsure of the correct phrase). As soon as she had stated that I knew she was the one. I asked her to supply a text where the forest speaks and the text she wrote is in some ways a conjuration. Along with the slightly toned pictures that start off and end the e-book (collected infrared pictures from the game cameras of native hunters) I felt like that nonhuman third perspective might provide the reader with another layer of the work, nonetheless alluding to something that is ‘other’, however differently.

I am not spiritual. I come from a sometimes secular family. No baptism, no affirmation, no communion and no plans in any way to get married in church (or anyplace else for that matter). Once I was in my teenagers, my father insisted that I ended paying the small voluntary church tax (1,02% of the taxable revenue) as soon as I began earning money. Most individuals in Sweden simply pay this small proportion and don’t think about it, but for my father it was a matter of principle. He thought of himself – and me as an extension of himself clearly – to face with each ft far outdoors of the Christian institution. I feel I have absolutely inherited his positioning of his. It is sensible to me. In an identical useless, I keep in mind having a small crisis the first time that I attended a pals wedding ceremony, witnessing the bride being “handed” over to her husband-to-be by her father. It felt so surreal to witness how completely intelligent and otherwise sane individuals selected to submit to such outrageous ‘rituals’ within the identify of ‘tradition’. Usually, I carry a profound anger in the direction of all the horrendous issues which were made within the identify of religion, from what occurred to 12-year-old Gertrund in Älvdalen to the crusades to seeing how this patriarchal system continues to be alive and in apply at this time. Any establishment provokes an analogous reaction within me and in consequence I try to distance myself from such buildings of power.

To be religious nevertheless might be fairly wholesome I feel because it takes away a number of the self-centred importance that man has given to man. I definitely don’t assume we humans could possibly be so petty in considering that we’re the one supply of energy on this earth and past.

My grandparents don’t consider in ‘natural magic’ per se, but they have grown up with these widespread “folk believes” and tales that used to perform as directions about the right way to do certain issues and when as a way to not upset sure mythical figures or forest creatures. Though they may not absolutely consider in all of those tales, they’ve transmitted a few of them to me. So, come to think about it, in some respects it feels like I may need acquired extra of a pagan religious upbringing than a traditionally Christian one…

Unsure what to make of all this but in essence, I consider that energies are essential and that they will and must be channelled. If my mother needs to speak with previous spirits, speak to mediums about energies and revisit previous lives I welcome it with curiosity, if my grand-parents tell me concerning the significance of maintaining the house-trolls completely satisfied, I welcome that too. Similarly, if someone finds which means in ’God’ or in a stone, I really feel a respect in the direction of that when it comes to what which may deliver to them when it comes to objective or which means. At the end of the day it’s simply totally different methods of storytelling; ways for us to attempt to make sense of our existence and it factors out to what extent we’re in truth clueless.

Yes, I did develop a certain degree of unease with portraiture within this work because of its close connection to concepts of representation. Clearly, even though I’m putting this work inside a selected historical and cultural context, I’ve no intention or urge to characterize a group or a spot. Numerous the themes which might be touched on in the guide come from a personal and artistic engagement with my very own heredity akin to a language that has existed in my household for tons of of years that I have no idea how you can converse. This can be a personal and emotionally driven type of work where I’m processing a few of the questions around id, language, history and culture which were brewing inside me for many years prior to the making of the pictures. The title is a sign that’s presupposed to hint to this. ‘Elf Dalia’ is a made-up phrase that derives from the identify of the language but refers to a fictional place that I have carved out via the combination of my own pictures and Tenn Lars’ archive. It doesn’t exist on this world as such. Elf Dalia isn’t an remark of a place at a selected time limit. It’s a very private narration based mostly on creativeness, emotion and want.

In some ways these ‘questions’ of heredity, family and id development that I have engaged with in previous works as properly are central for my very own understanding of ‘Elf Dalia’, and comes across most clearly maybe in a collection of ‘self-portraits’ that did not even make it into the ebook however that might be proven in an upcoming exhibition. I used pieces from my grandfather’s assortment of driftwood and created numerous ‘totems’. I see them as self-portraits; a clear demonstration of the method of id development. When assembling these random pieces collectively, something ‘else’ is delivered to life. Historically, the totem can function a symbolic language but additionally it is a sacred object that serves as an emblem of a gaggle of individuals similar to a household, clam or lineage with the aim of reminding them of their ancestry. Once I created these figures, I had in thoughts the symbolic language of the totem that I appropriated with a view to convey a message about myself, while understanding absolutely nicely that in translation things all the time shift. They turn out to be one thing else. This ‘shape shifting’ is a fairly essential and recurring aspect in Norse mythology. All Gods can turn into something, man, animal, object and achieve this commonly. Additionally, based on Norse mythology, the gods created man and lady out of two pieces of driftwood.

Oh, and come to think about it, there’s completely a connection there between my ‘totem-figures’ and the film you simply made me watch (thank you, kind of…) since it’s all about a type of shape-shifting gods. Clearly it’s a horror film in order that they made it very dark! And scary! All about one in every of Loki’s (who typically will get translated into the Norse equal of the satan) offspring. Whilst it’s true that many gods weren’t worshipped but somewhat hated or feared, most of them had very complicated personalities, a mix of good and dangerous in order that horror-example appear to be simply that, a horror instance… However, sure, I did take pleasure in discovering how it appeared in the long run of the movie. Those human arms by the mouth, nice touch. Speaking of these shape-shifting creatures…the double-exposed photograph of a woman wearing white made by Tenn Lars is for me an illustration of the “lady in the woods”. She would appear within the forest, lovely from the front but with a hollow again. She shouldn’t be a friendly character to all humans however her character undoubtedly has both good and dangerous. The Älvdalen version is galled Guenna and her “cave” is situated in the mountain right by our household cabin so maybe she has been watching me for some time…

Maja Daniels


(All Rights Reserved. Textual content @ Brad Feuerhelm and Maja Daniels. Photographs @ Maja Daniels.)