When the Sun goes down We see Lemons
Emma Sarpaniemi is an artist and photographer currently based in Helsinki, Finland. She graduated with a Bachelor's degree from the Royal Academy of Art in The Hague. With her work, Emma explores the construct of femininity through performative self-portraits and collaborative efforts, including a broader range of characters. Staged poses allow deconstruction of the notion of the anticipated definition of femininity through humor while also creating a new space that is welcoming, safe, and empowering for the new type of femme to emerge.
With her recent project, When the Sun goes down We see Lemons, which started in 2019 and turned to become a solo exhibition presented in Galleria Rajatila, Emma explores the themes of friendship and femininity by moving to the other side of the camera and becoming one of the characters in the narrative. The carefully choreographed poses, along with the technical aspects of an image, such as warm color, the chosen aesthetics for the background, and stylistic choices, emphasize the opposition of the playful mood with the topic of re-identification.
In this interview, we discuss the project and the exhibition. We speak about the perception of femininity by the Other, the main themes raised with this work, and the created connection with the viewer. Emma explains how the project shaped her views, “I wanted people to recognize themselves in the photographs. I learned to formulate my view on femininity and to be vulnerable.”
‘I was researching the history of women’s self-portraiture and what femininity means to me. Through shooting, it evolved around topics such as intimacy, friendship, and the role of the photographer.’
Hi Emma, how is the exhibition of your series, When the Sun goes down We see Lemons, at Galleria Rajatila in Finland going?
Hi! The show ended a few weeks ago, but it went great! It’s always exciting to show work in a new city to a new audience. I doubted the final selection a bit because I had a feeling I needed to show something new. My good friend encouraged me and said that bands go on tour and play the same album. They have hit songs that people want to hear. That’s the way you should approach the show too, my friend said. Having the hits and something new. I think it was a good way to approach my doubts, but also, in general, to deal with the feeling that we live under constant pressure to produce new work, which is affected by social media’s massive image load. In the end, I’m the only person who has experienced the previous shows, and even though, for me, the work would seem seen, for someone else, it’s new.
‘I’m interested in investigating how our relationships change and grow but also how we change as individuals with time.’
Let’s discuss the series, the idea, and the name. You started to work on it in 2019. What was the first image you took that made it to the final selection, and how did the series develop since then?
The first image was taken on a bed where I was brushing my friend’s hair. I was studying at the Royal Academy of Art, The Hague (KABK), and most of the early images were photographed in our home in Den Haag. In the beginning, I was researching the history of women’s self-portraiture and what femininity means to me. Through shooting, it evolved around topics such as intimacy, friendship, and the role of the photographer. We wanted to create a space for us to be on our terms without being defined by patriarchal ideals in our society. I see the series as a lifelong project; I’m interested in investigating how our relationships change and grow but also how we change as individuals with time. Back then, I was listening to a lot of Sharon Van Etten’s songs, and she has a song where she sings: “Every time the sun comes up I’m in trouble.” One day I woke up, and I had a sentence in my mind “When the Sun goes down I see Lemons,” but my teacher, Ari Versluis, asked, "Isn’t it 'we' instead of I?" Then, I realized it wasn't about me and my femininity but about us.
‘Being in charge of everyone’s emotions but also being in charge of the photograph and the outcome was challenging at first, and sometimes it still is.’
Including yourself in the image and deciding to bring into the frame the shutter release adds another layer. Staging the frame, creating the moment that should find its way to the series while being an integral part of the narrative, brings attention to the photographer becoming the subject. What was this experience like for you? What was the most challenging part?
At the same time, it was intimidating and exciting to be on the same side of the camera. I couldn’t control the situation, and the self-determination became equal. I think it’s such a powerful way to photograph but also challenging. The atmosphere can be very charged, and you have to sense how other people feel, build trust with them, and be present. Being in charge of everyone’s emotions but also being in charge of the photograph and the outcome was challenging at first, and sometimes it still is. Although I’m the photographer, the series is a collaboration, and everyone is in charge. Together with my friends, we decide on the clothes, what kind of poses we want, and where we are shooting. It reminded me of these dress-ups when we were little. I love this kind of nostalgia. What is powerful in the series is that it’s not bound by a certain trend.
‘I wanted to create a bubble with my friends to invite the viewer to peek in and show how we wanted to present ourselves when there were no rules. To show caring, intimacy, and rawness in which the viewer could identify themselves.’
The concept of femininity is deliberately deconstructed, starting from the expectations of society to asking questions about the perception of the other and the definitions imposed. From softness to closeness to power, you explore the dynamics between females. What were the main issues you wanted to raise with the project? What did you learn in the process?
In the beginning, I wanted to make sense of what femininity meant to my close ones and myself. But then I started questioning my role as a photographer and how we have power over the people we photograph. I wanted to understand the urgency of why some artists take self-portraits and to catalyse my emotions and frustrations with the fact that in history women had been defined by men and objectified by their gaze. Through all these questions and thoughts, I started to formulate what I wanted to emphasise. I wanted to create a bubble with my friends to invite the viewer to peek in and show how we wanted to present ourselves when there were no rules. To show caring, intimacy, and rawness in which the viewer could identify themselves. I wanted people to recognize themselves in the photographs. I learned to formulate my view on femininity and to be vulnerable. I’m thankful to my friends for creating a caring environment of growth and concern.
What are your plans for the next projects, and which themes are you working to explore?
I’m working on a new self-portrait project called Two Ways to Carry a Cauliflower. The series is a playful and modern yet timeless portrayal of womanhood. It’ll be dealing with similar topics, such as Lemons, but I approached it differently and decided to include new themes. I’m excited to start a new body of work since, as an artist, I have two voices: one is subtle, calm, and intimate, which I recognise in Lemons; the other one is very colorful, playful, and more focused on props as in the Cauliflower project.
