+358 50 568 7285 / firstname.lastname@example.org
Galerie Les Filles du Calvaire
+33 (0)1 42 74 47 05 / email@example.com
17 rue des Filles-du-Calvaire, 75003 Paris
Jackson Fine Art
tel 404.233.3739 / firstname.lastname@example.org
3115 East Shadowlawn Avenue
Susi with his dad, 2018
A Petite Garden, 2019
Collage, selenium, sepia and split toned silver gelatin contact prints, black needles
Triptych; 83 x 197, 103 x 197, 83 x 197
Unique, in a private collection
Paris Photo 2019 with Galerie Les Filles du Calvaire
A Petite Garden, 2019
A Petite Garden (detail), 2019
Susi with his dad (2018), selenium toned silver gelatin print
Sweet CicelySweet Cicely (2019), Iceland Poppy with an Ostrich Fern (2019) and Honeysuckle (2019), all selenium toned silver gelatin contact prints
Paris Photo 2019 with Galerie Les Filles du Calvaire
Recent news and articles
11/19 Katalog 30.2 II/Fast Forward: Women in Photography, pages 148–151
10/19 Portfolio on Snoecks 2020, text by Annelies Vanbelle, pages 82–93
10/19 Musée Magazine, Woman Crush Wednesday, interview by Kehan Lai
07/19 Article on Kamera-lehti, text by Sari Vennola, pages 16–23
05/19 A six-page portfolio in Internazionale, text by Christian Caujolle
01/19 Critique on my exhibition at the Galerie Les Filles du Calvaire in Libération
10/18 Susi with his dad (2018) in the latest Fotografi, Norwegian photography magazine
08/18 Photographs from the Shared published in the Gente di Fotografia
07/18 LensCulture, Volume 2, is out now with portrait of Zane and August in it
04/18 My photographs of siblings on The Correspondent, an article by Lynn Berger
04/18 Nominated for the August Sander Award
04/18 Article on Verk tidskrift, written by Susanne Fessé
12/17 Photographs from Shared featured in Raw View #10 'Fineland'
11/17 Article on P3 written by Ana Maia
10/17 Photographs from the Shared featured on FotoRoom together with an interview
10/17 Interview by Diane Smyth on British Journal of Photography
09/17 Part of the project 100 Finnish Photographers
06/17 Article on LensCulture 'Shared-Exploring Siblinghood Through Portraiture'
04/17 Interview by Matthew Oxley on worldphoto.org
04/17 Awarded a Juror's Pick prize in LensCulture Portrait Awards 2017
New collage Holds (Susi and Ylva) from the series Shared on display at Kunsthalle Helsinki October 2021, part of the Helsinki School 25th anniversary exhibition
Portrait of a Finnish actress and icon Kati Outinen for SSAW magazine (Spring Summer 2021 issue)
Hair and make-up Miika Kemppainen, styling Emma Saarnio, Kati wearing Maison Margiela
PHOTO LONDON 2019, with Gallery Taik Persons. Here's my work on the right (in the middle Zofia Kulik's amazing piece Self-portrait with a flag II, in the back Shade by Riitta Päiväläinen)
Portrait of Maria Kuusiluoma and Miro Lopperi for Anton Chekhov's Seagull (by Anne Rautiainen) at the Finnish National Theatre
Portrait of my son, Susi with his dad (2018), in the Fotografi
Contact II (Dora and Vera), 2018
Myrsky and Kukka, 2017
Annikki and Inkeri, 2017
Janne holding Sampo, 2018
Contact I (Dora and Vera), 2018
Dora and Vera, 2017
Contact V (Janne and Sampo), 2019
Vera and Dora, 2018
August and Zane, 2018
Isabella and Josefin, 2017
Zane and August, 2016
Julia and Roi, 2017
Nelli Palomäki was born 1981 in Forssa, Finland. At the moment she lives and works in Karkkila and Helsinki, Finland. Her timeless portraits of children and young people reveal the fragility of the moment shared with her subject. Palomäki’s photographs deal with the growth, memory and our problematic way of seeing ourselves. One of the crucial themes in her portraiture is our mortality. She describes: “We fight against our mortality, denying it, yet photographs are there to prove our inescapable destiny. The idea of getting older is heart-rending.” She is a graduate of Aalto University School of Art, Design and Architecture in Helsinki.
Palomäki’s works have been exhibited in numerous international solo and group exhibitions. Selected solo shows: Shared (Galerie Les Filles du Calvaire, Paris 2018), Shared (Gallery Taik Persons, Berlin 2017), Jaettu (Forum Box, Helsinki 2016), Breathing the Same Air (Ordrupgaard Art Museum, Copenhagen 2013), Nelli Palomäki (The Finnish Museum of Photography, Helsinki 2013), Sons of Nakhimov (The Wapping Project Bankside, London 2012), As time consumes us (Les Rencontres d’Arles, Discovery Award 2012), As time consumes us (Kulturhuset, Stockholm 2011), Elsa and Viola (Next Level Projects, London 2011), Elsa and Viola (Gallery TAIK, Berlin 2009), I, Daughter (Turku Art Museum, Turku 2008). Her photographs have been shown in several group shows including Helsinki City Art Museum, Hasselblad Foundation in Gothenburg, Bruce Silverstein Gallery in New York, Daegu Photo Biennale in South Korea, The National Museum of Photography in Copenhagen, Purdy Hicks Gallery in London and Aperture Gallery in New York. Palomäki’s photography has been featured in several publications such as TIME magazine, British journal of photography, Independent magazine, New York Magazine, Zoom and Exit. Her book Breathing the Same Air was published spring 2013 by Hatje Cantz.
In spring 2010 Palomäki placed 2nd in Sony World Photography Awards in portraiture category and the same year Hasselblad Foundation awarded her the Victor Fellowship Grant for the studies in London. She has been selected as one of the young emerging artist for the reGeneration2–Tomorrow's Photographers Today project. In summer 2012 Palomäki was nominated for the Discover Award at the Rencontres d’Arles in France. Permanent collections include: Moderna Museet in Stockholm; The Hague Museum of Photography, Hasselblad Foundation in Gothenburg and Helsinki Art Museum. Palomäki is represented by Galerie Les filles du calvaire (Paris) and Jackson Fine Art (Atlanta).
Vera, Dora and Antonio, 2016
The longest relationship we will ever have is commonly with a person we did not even choose to grow up with - our sister or brother. This relationship is extraordinary both in a physical and spiritual way, but does carry its reverse too. Out of all our relationships this might well be the trickiest one. Underneath the cohesion and love, there are more complex emotions like competition, envy and concern for the other.
Photographs shown here explore the siblinghood through portraiture. They show the physical closeness between siblings and simultaneously underline the uncomfortable of being so close to someone. Looking at the siblings we are not only searching for the likeness, but also studying their differences and observing the power relationships in the portrait. Togetherness in the photographs is built around simple gestures like holding, grabbing or quietly leaning to another. Particularly different ways of touching the other has become a crucial part of the work. It is captivating to follow how some of the siblings are united while being portrayed, whereas some are suffering from being so close to each other.
Recently my interest towards the spiritual connection between the siblings has taken over. Older siblings guarding and guiding their little sisters and brothers. At times it feels like one can sense the other one’s intentions. Instead of striving for showing only the physical connection and appearances, I’m chasing the aura of each pair.
We use our siblings as our mirrors, through them we study both our worshipped and unwanted features. As a result we quickly begin to see ourselves in a relation to another. As a little sister myself, and as a mother of two little children, there are many personal interests involved too. No matter how equal we wanted to see our family relationships, there is always some disparity. This disparity, along with the comparison between the siblings, continue to follow us throughout our lives.
I often photograph strangers and many times an unique long-lasting relationship is built. As a photographer I am focused on how we see ourselves, and how that image differs from the one we see in the photograph. We are so afraid of someone capturing us, and we being unable to figure out this person. I am hugely fascinated by the act of posing, and as children grow, I love to witness how a just-standing-there changes into actively posing.