AN INTERVIEW WITH ARTIST AND PHOTOGRAPHER, KARIN BUBAS
Karin Bubaš, Winter Scene at Alexander Falls, 2022
Karin Bubaš is a Canadian multidisciplinary artist whose practice includes painting, drawing, photography and three-dimensional paper toles. Her renowned photo work explores a delicate interplay between feminity, anonymity and our relationship to nature, all with a uniquely chilling undertone.
Bubaš’ ongoing series, Studies in Landscapes and Wardrobe, showcases meticulously styled women observed from behind in beautiful yet apocalyptic scenarios, a visual contrast that feels more relevant than ever in our present-day smoke-filled environment. With air quality ratings at an all-time low and nail salon openings at an all-time high, the subject matter in this series feels quintessentially Vancouver: cold, damp and full of beauty–both organic and manufactured. The darkness of Karin’s environmental backdrops is offset by the allure of the mysterious women who inhabit them who stand tall, groomed and unbothered amidst frozen landscapes, hazy flower fields and intimidating evergreen forests.
In anticipation of her exhibition opening at Whistler’s Audain Art Museum entitled, Karin Bubaš: Garden of Shadows, which features a curated selection of her photography and paper toles, we caught up with Karin to explore the inspirations and motivations behind her work.
PC: What is the significance of your subjects’ wardrobe choices in the series?
KB: The series was initially inspired by the films of Antonioni and Hitchcock. I was fascinated by how the wardrobe serves as a narrative device. Since the women's faces are always out of view, their clothing and hairstyles become the primary means of expression. The wardrobe essentially becomes a character within the scene, allowing viewers to interpret the character's personality, background, and emotions solely through the attire.
Karin Bubaš, Woman in Dahlia Field, 2022
PC: How do you determine these wardrobe choices and how do they correspond to the chosen settings?
KB: Some of my pictures are created with the landscape or location as the initial inspiration, while in others, the outfit takes precedence. For example, Woman With Hollowed Tree was created in two stages. Initially, I photographed the hollowed tree in a redwood park in Northern California. Several years later, I envisioned a tone-on-tone ensemble that complemented the tree's natural hues. I enlisted a friend with long auburn hair, who wore a matching coat I found. The subject was photographed separately and later integrated into the original scene through digital techniques.
I love thrift shopping and have a small collection of vintage coats and accessories, and this collection has played a role in shaping some of my artworks. Examples such as Pink Dress and Cherry Blossoms, Woman in Snow and Patterned Coat and Snow were all made from finding unique garments.
Karin Bubaš, Woman with Hollowed Tree, 2016
PC: How come we never see the subjects’ faces?
KB: By intentionally concealing my subjects' faces, I guide the viewer away from preconceptions related to age, gender or race. This deliberate ambiguity directs the attention toward the interplay between the subject and the landscape.
The carefully chosen wardrobe acts as a gateway for viewers to explore the connection between the figures and the landscapes, prompting them to conjure narratives and emotions associated with each character. In this way, the clothing becomes a portal through which viewers can actively engage with the artwork's narrative, encouraging a deeper and more personal connection.
Karin Bubaš, Icelandic Poppies, 2021
PC: When did you become interested in creating paper toles?
KB: In the late 1990s, during a visit to the PNE, one of the fair stands was selling 3D pop-up poster-print versions of Da Vinci's The Last Supper. This challenged me to view a paper print as a three-dimensional object and I began to consider how to apply the approach to photography.
During my time in art school, I worked on a series of photographs featuring my friends' cluttered interiors. In these works, I experimented with a technique involving cutting and layering of multiple photographic images, producing a low-fi three-dimensional illusion. The process was labour-intensive, which led me to set aside this project for a time.
It wasn't until 2012 that I revisited this idea, armed with laser-cutting to ease the process, reigniting this approach to photography.
PC: What is it about the medium that makes it appealing to you?
KB: I like that it blurs the lines between photography and sculpture and that the viewer is reminded that in basic form a photograph is a piece of paper.
Karin Bubaš, Woman with Eagles, 2017
PC: How does it feel to be showcasing your work at the Audain Art Museum in Whistler, situated among some of the most incredible landscapes in the country?
KB: It's truly remarkable. Curtis Collins (from The Audain), Monte Clark (my art dealer), and I had been discussing this exhibition since 2019. Originally, the show was scheduled much earlier, but then the COVID-19 pandemic struck, and everything was put on hold. While there had always been plans for a book, the uncertainty brought on by the pandemic made it even more challenging. Fortunately, I'm surrounded by a dedicated team of individuals who worked tirelessly to bring this book to production. I [recently] received the advance copy, and I couldn't be more thrilled to see it finally become a reality.
I've been creating Studies in Landscape and Wardrobe for many years now, producing a few pieces each year. Witnessing it all come together in one comprehensive monograph is really satisfying. It will be on the top floor of the museum which has giant windows that look out into the forest. I think the natural environment the museum sits in will have an interesting dialogue with my work.
PC: In what ways do you enjoy connecting with your natural environment?
KB: I think being a photographer I am a natural observer. I don’t have a ton of spare time but I do like to go for quick runs to get outside and away from my home studio. I like to see what the weather is like and observe the little signs of the seasons changing (what’s in bloom, what colour the leaves are). Every day is different. I find any time outside does wonders, even in the rain.
PC: What do you hope audiences will take away from this exhibition?
KB: I hope they take the book - haha.
Karin Bubaš: Garden of Shadows will be on display in the AAM’s Upper Galleries from September 23, 2023 to January 29, 2024.
The exhibition is accompanied by a full-colour book featuring contributions by Doug Copeland and Shaun Inouye who explore Bubaš’ practice in the conceptual interrogation of media, setting up intersections between photography, film, advertising and high art.
Learn more about Karin’s work via her website and be sure to follow her on Instagram.
