ARNO RAFAEL MINKKINEN

BY: Sarah Sunday

Minkkinen, a photo book celebrating the vast oeuvre of Finnish-American photographer Arno Rafael Minkkinen, is the essential culmination of patiently deliberate and astoundingly ingenious work. Spanning five decades, Minkkinen showcases the many iconic stages of the photographer’s work. From his first self portrait at the age of 25 to his continuously novel and present work, each image garners careful attention and begs the question, “How did he do it?” 

Inducing initial impressions of tranquility and quietude, the work of Arno Rafael Minkkinen is incessantly shot in black and white and in predominately natural settings. Minkkinen’s nude form mergers so seamlessly with its surroundings that at times it is difficult to even detect. Momentarily, it becomes a rock, a tree limb, a component of water. Yet, the precariousness of the work grows increasingly apparent following a deeper inspection. In full recognition of the risk intertwined with his creative process, Minkkinen remains the lone subject of his perilous shoots. 

Defying laws of gravity and common sense, Minkkinen’s body suspends horizontally over cliffsides or balances vertically and upside-down. His form submerges into mounds of thick snow or into bodies of water, free from ripples and still as glass. In an essay from within the book, Minkkinen comments, “When I first began [photographing] in 1970, I wanted to be an essence, rather than grounded in the reality of day to day. Over those early years, I discovered ways of floating in the air, walking on water, or becoming a part of river currents.”

A solo commander of his work, Minkkinen has committed to and perfected the art of self portraiture. Void of any photo manipulation, the bizarre nature of the photography delights and confounds. While quintessentially singular in aesthetic style, the images within Minkkinen traverse numerous categories, ranging from the natural, to the humorous, to the interpersonal — delving into the topic of love and human connection. Occasionally, albeit rarely, a subject other than Minkkinen appears in front of the lens. 

Capturing images around the globe, Minkkinen notes, “From my earliest self portraits playing chess, one leg of my tripod has always been planted in Finland, one in America, and the third, like the knight, jumping around the world from one country to another.” Shot in locations such as Japan, France, Mexico, and settings around the U.S., Minkkinen’s sinewy elbows, knees, and shoulders remain constant, acquiescing to the pre-conceived ideas formed in the photographer’s mind. Supported by a lanky yet timber physique, the versatility of the photographer remains continuous, allowing for a seamless body of work with unfaltering ingenuity and ceaseless vision.  

To learn more about the book, visit Kehrer’s website here.