Elisa von Brockdorff: 'I force myself to do something small, even if it is just experimenting with a light, or just taking a few test shots'

Elisa von Brockdorff is a visual artist and freelance photographer based in Malta. In 2009, she received a Master’s Degree in Fine Art from the University for the Creative Arts in Canterbury (Kent) in England, where she explored both photography and installation art. Prior to this, she obtained a degree in Psychology at the University of Malta. Her latest solo exhibition, Pixels on a Picnic, is a playful exploration of light, reflections, and visual narratives by staging mundane objects.

1. What’s been the most defining moment in your career so far?

It’s difficult to pinpoint a single defining moment because I feel that one chapter leads to another and it’s more of an evolution of work, rather than a final outcome. However, having said that, my current art photography exhibition Pixels on a Picnic at Splendid in Valletta, feels like a culmination of both photography and installation art, which I’ve explored through my work over the years. It feels like an expansion of my practice, where light itself has become the subject rather than just an element within the composition.

This series was developed over the course of a year and resulted in an exhibition featuring over thirty photographs. Through ongoing discussions and collaborative decisions with curator Melanie Erixon of ArtSweven, the display of the works became like an installation in itself. Careful consideration was given to the scale, format, and placement of each piece, integrating them with objects and lighting to enhance their impact. This approach reflected the process behind the photographs themselves, further emphasizing their immersive quality.

Pixel Flowers

2. As an artist, how do you navigate the world and speed of social media?

Social media can be seen as both a tool and a distraction. On one hand, it gives artists visibility, an immediate connection to an audience, and a platform to showcase work even if it is not exhibited publicly. On the other hand, it can be overwhelming, feeling as though you need to post often, almost to prove that you are still ‘doing something’.

I admire artists who are able to produce work and also manage to create quality content to display it virtually because it requires dedication, skill and so much time too. In my case, I tend to use social media as an extension of my practice, which means posting when I have something I would like to share rather than at particular intervals, just for the sake of it.

3. Do you consider artificial intelligence a threat to your career, or an opportunity?

I see AI as a tool, just like photography, digital editing, or even the camera itself. It’s not inherently good or bad; it depends on how it’s used. However, in reality there have been moments when I’ve seen an AI-generated image created in seconds from a simple prompt and felt a bit bad, especially when comparing it to a photograph that took me hours to stage and capture. But despite that, it is not going to stop me from what I do.

Much of my process involves physically interacting with the objects – staging scenes, playing with reflections, arranging materials in a way that feels intuitive. AI can have similar aesthetics, but it doesn’t replace the tactile nature or the experimentation that I use to create my images in the real world. That said, I’m not against using AI and it has its uses, for example when it comes to improving the quality of an image.

4. How do you stay motivated and inspired, especially during tough times or when the work feels hard?

There are definitely times when things feel tough or I am very busy with freelance photography work and I don’t feel like creating anything. Realistically inspiration isn’t always there and, in those moments, I’ve learned that the best thing I can do is to start, even if I don’t feel particularly inspired. I force myself to do something small, even if it is just experimenting with a light, or just taking a few test shots.

At first, I usually feel some resistance and at times that is reflected within the work as it doesn’t turn out well and I feel further demotivated and frustrated. However, generally the outcome is more positive. The more I engage with the process, the more my mind starts making connections. With that momentum, I become more inspired to look up other artists’ work and I also get new ideas for other starting points.

5. How do you balance your creative instincts with the expectations of your audience or collaborators?

I try to create what feels authentic to me, something that excites me visually and conceptually. That said, I do think about the audience and how they will engage with the work. I feel that art isn’t just about expressing a visual language; it’s also about connection.

With Pixels on a Picnic, for example, I wanted to explore light, colour, and materiality in a playful way, yet Melanie and I also considered how the audience would experience the space. I love it when people interact with my work, such as noticing small details and even taking shots of the works and surrounding space.

6. How do you approach a new project? Do you have a specific process or routine you follow?

Every project starts with an idea, but I rarely know exactly where it is going to take me. It begins with collecting objects, materials, inspiration from other artists and studying their approaches. Then comes the phase where I actually start to experiment with the materials and tools. In the case of this exhibition, I used particular objects or lights as a starting point and then arranged, rearranged, removed, added, repeated and let the scene develop intuitively.

Photography, in essence, is quite quick – you ‘just’ press a button and the image is captured in a fraction of a second, yet with these images getting to that moment takes some time. There are many small decisions involved that add up to the overall quality of the image such as adjusting angles, changing lighting conditions and so on. Then there’s the part where you need to choose one image from over hundred that look almost the same, which I find a little daunting.

For Pixels on a Picnic, I wanted to create stylised images that felt immersive, with a particular focus on different light and the way it interacts with various surfaces. Therefore, a lot of my decisions along the way were based on this concept.

7. Can you let us in on some of the future projects, works?

I’m always thinking about what’s next, but I also like to give myself time to let ideas develop naturally. Right now, I’m interested in pushing the relationship between light, colour, and materiality even further, perhaps incorporating more sculptural elements that go beyond the frame. Music has also been an ongoing part of my creative process, and I’m exploring ways to merge sound and image in a more cohesive way. The Sound Sandwich performance happening on the 23 February is one step in that direction - it will be a music event held during the exhibition at Splendid, featuring a live set by Ben Mifsud Joslin and an electronic set by myself.

Extra round

Who are your biggest influences, and how have they shaped your work?

Two artists who have had a big impact on my work are Tim Walker and David Batchelor.

Tim Walker’s photography has always fascinated me for the way he constructs his intricate dreamlike scenes. There is a sense of playfulness and storytelling that definitely influences my own approach. I was lucky enough to visit an exhibition at the London Design Museum years ago and I loved the combination of photography and props all throughout the space. Whereas Tim Walker tends to use more pastel colours, David Batchelor uses bold colours and elevates everyday materials into a glowing, vibrant experience. I still remember feeling a sense of excitement and awe whilst seeing one of his light installations, in the streets of London about 15 years ago.