» L a b e a u t é s a u v e r a l e m o n d e . . . « F j o d o r M i c h a i l o w i t s c h D o s t o j e w s k i

» d i v i n i t a «

C o n c e p t b y I r i s B r o s c h , U l r i k e R e i n h a r d a n d B e a G s c h w e n d

S p o n s o r e d b y P a p i e r f a b r i k S c h e u f e l e n G m b H + C o . K G a n d L e c h t e M e d i e n G m b H

I r i s B r o s c h b y I r i s B r o s c hw w w . i r i s b r o s c h . c o m

3

» d i v i n i t a « – i n t r o d u c t i o n

»divinita« introduces positive energy (i.e. desire) emerging from Iris Brosch’s pictures

supplemented with texts to a wide audience. Freed of suppression, violence, aggres-

sion and shocking images, people are touched by the beauty, delicacy and positive

spirit of Iris Brosch’s photographs and are invited to participate. A new figurative

style is created.

With this clear yet simple concept Iris Brosch has created a new image of women.

In her photographs women enjoy themselves; they like to exhibit themselves with

pleasure and dignity, free from the defining views of men. Extremely feminine photo-

graphs displaying a lot of emotion and charisma are created. Pictures reflecting

beauty in every detail.

Iris Brosch is well known for photographs which catch and convey the multiple

facets of women. Her great talent is to include a large number of people in one

shot. She portrays not only large, amorphous groups of people but details about

the action of each individual is relevant to the entire photograph. Iris has overcome

the logistical challenge of directing large groups as well as inspiring each individual

to portray a coherent and unified image similar to a painting.

The international press has described the photographic style of Iris Brosch as

»Miuccia Prada meets Leonardo da Vinci«. This seemingly odd comparison is sur-

prisingly accurate in that Iris’ fashion photographs combine the delicacy, beauty

and femininity of a Leonardo with the definitive, straightforward stylishness

exemplified by Prada.

»divinita« is an invitation to everybody to exhibit themselves with pleasure and

dignity.

4

» d i v i n i t a « – t h o u g h t s

What is the intention behind your photographs?

Iris Brosch: My work does not represent reaction but reflection. I am convinced

that our present-day society is both oppressed and restricted by the »illusions«

that are put into our minds by advertising and mass media. They tend to generalize

and create ideals, which put pressure on the individual who feels stressed and

dissatisfied. As a consequence, the difference between pictures portrayed as

ideal by the media and reality becomes even greater in the perception of the indi-

vidual.

Due to competition to catch the attention of the public, the media have created a

new pictorial language, whose contents are determined by violence, aggression

and shocking images.

I would like to follow a different path. The essential aspect for me is that I also

portray the beautiful, the emotional, the delicate and the clear in detail. My photo-

graphs are intended to make visible the invisible, releasing positive energy but in a

very sensitive and tender way (page 8).

I intend to create a new figurative style to develop new perspectives – without

violence, without aggression, without anything shocking but still extremely

strong! My photographs make people feel at ease comfortable, because in the

first instance the individuals in my pictures feel at ease; they can be authentic

and free of constraints; with the power of exhibiting themselves (page 6).

What do you mean by beauty, by positive energy?

Iris Brosch: Beauty is a term with a positive association, depending on moral con-

cepts and criteria of evaluation formed by social conventions. According to social

conventions the term »beautiful« refers to the individual as well as to his environ-

ment. Interdependence and feedback for the individual and the environment can

create new conventions or change existing ones. It is even possible to change

values.

To be precise, beauty has the following meaning for me: living according to my

own identity and values. It also means being in harmony with nature and living

free of social constraints (page 13). Beauty becomes something diversified, that

is different in every human being. Beauty is not uniform (page 18).

I try to convey this message through my photographs. The individuals in my

pictures by simply being themselves have the freedom to be beautiful, developing

their own beauty and not striving for some ideal imposed by society (page 14).

This is exactly what the observer realizes, because it is not the conventional way

of portraying beauty. He can feel the energy emerging from my photographs and

detect the fantastic dynamism resulting from the differences.

5

Publicity and the integration of the public are important for your work. Why?

Iris Brosch: Working with the public implies a very direct way of communication –

not with a selected audience, but with people who just happen to come by. For me

it is important that people are able to experience the process of creating my pho-

tographs and films, and that I can integrate them. This provides a direct feedback

which enables me to experience the effect of my work at first hand – I can even

integrate the reactions in the progress of my work. Something unexpected is

created, and things we did not consider before become visible.

The border between the world of the famous and beautiful on one side and the

ordinary world on the other disappears. A social process is indeed taking place,

initiated, but not completely controlled by us. You could probably look at it as a

cultural prototype. This happens more easily with non-commercial [free] projects

like »Divinita – Le paradis est où je suis« rather than with commercial projects.

In this context you have coined the term »Tableaux Vivants«.

What does it mean?

»Tableaux Vivants« are social sculptures, living pictures (page 11). Pictures, in

which the public is integrated. With our »Tableaux Vivants« we ignore social dif-

ferences. We communicate with people of every age, culture, social class or intel-

lectual background. We also utilize the energy of their reactions, as we sometimes

detect their feelings and impressions and process them later on in our work.

»Tableaux Vivants« overcome limitations and hierarchies – everybody can adopt

another role.

Where is the difference between the fashion photographer Iris Brosch

and the artist Iris Brosch?

Iris Brosch: For me working on a fashion or art project is almost the same.

Everything is done in the same »spirit«. I don’t like to be categorized as a fashion

photographer or artist, because I always try to maintain the freedom to move

beyond all these categories. This is exactly from where the power and strength

of my work is derived.

Where is the difference between Iris Brosch the woman and the photographer?

Iris Brosch: There is no difference at all.

.

Who do you think represents the same approach as you do?

Iris Brosch: Spontaneously I would say: Virginia Woolf, Artemesia Gentileschi,

Camille Claudel, Hildegard von Bingen, Julia Margareth Cammeron.

6

My photographs make people feel at ease comfortable,

because in the first instance the individuals in my pictures

feel at ease; they can be authentic and free of constraints;

with the power of exhibiting themselves.

7

8

My photographs are intended to make visible the invisible,

releasing positive energy but in a very sensitive and tender

way.

10

»Tableaux Vivants« are social sculptures, living pictures.

11

12

13

Beauty means being in harmony with nature and living free of social constraints.

14

The individuals in my pictures by simply being themselves have the freedom to be beautiful,

developing their own beauty and not striving for some ideal imposed by society.

15

16

17

18

Beauty is not uniform.

19