Jokkmokk native, artist Carola Grahn, sees herself as a person full of paradoxes. She took a master’s degree in Fine Arts at Stockholm’s Royal Institute of Art (KKH) in 2013. That was where I first I came into contact with her art, in connection with her exam exhibition at the Royal Institute of Art.I perceived the novel Lo & Professorn, which she presented there, as a magnificent study in power. The book, which also functions as a source of inspiration to this text, blends truth with fiction.

When I arrive at the Nordic Museum, Carola is in the middle of trying to convince the staff to let us do the interview on the knees of Carl Mille’s six-metre-high sculpture of Gustav Vasa. “Our image of history is important,” she explains.

We are meeting for lunch, and Carola has come directly from giving a successful lecture on photography and power at Stockholm’s Fotoskola. She reaches for her glass of water and her Sami-made bracelet slides out from under her sleeve.

When did you begin to create art?

“That is a question of definition.I have always been extremely creative, and in 2005, before I started any form of artistic training, I completed a photo project on young Sami, which was displayed at Kulturhuset in Stockholm. Carola tucks her blond hair behind her ear, smiles alluringly and quotes Pierre Bismuth: ‘Everyone is an artist – but only the artists know it.’

“Everyone is an artist – but only the artists know it”

The Sami culture as a theme remains as the basic vein through Carola’s art, but is also transcended when something else comes in.

“I often work from strong feelings that would generally be considered taboo. Disappointment, contempt, thirst for revenge and desire.”

Pause. I take a mouthful of coffee, Carola looks out through the window and slowly strokes the statue’s leg.
“I use processes where I construct and deconstruct power relationships as a way of trying to understand given roles, how they relate to our own self image and construct society.”

“I use processes where I construct and deconstruct power relationships as a way of trying to understand given roles, how they relate to our own self image and construct society.”

Carola speaks about how she has always been interested in paradoxes, in her art and in general. The artistic investigations deconstruct power relationships and how we reproduce our given roles, stereotypes and norms. Norms that simultaneously construct our self image and construct society.

“I am something of a paradox myself, I am feminist, believe in Jesus Christ, yet also work with obscenities and neither live nor think in a way that is often expected from a Christian. Yet, I am also Sami, I mean, how does all of that fit together?” Carola laughs with a blinding smile.

We start talking about the contradiction between being both Sami and Christian, and Carola says:

“A number of young Sami today believe that the Sami culture and Christianity cannot coexist as belief systems. Forcing the Sami to convert to Christianity has left its mark. The colonialisation and cultural appropriation occurred over a long period, so I understand that point of view.As human beings we are not consistent.”

I believe that what she says comes straight from the heart, and have no doubt that there are many deep thoughts behind her opinions. The Sami experience sits in her body. Yet she transcends it in different ways all the time. Now, as a member of the cultural elite, with a degree from none other than the Royal Institute of Art.

Your exhibition at Bildmuseet in Umeå related to the town, can you tell me more about how?

“Yes, it did. Vidderna ropa (A cry from the expanses), the audio piece I exhibited, was mounted outside the museum. I installed it in a tall pine. I worked together with joiker Jörgen Stenberg, and the work is about the space between Sami history and Swedish history. How problematic everything becomes when we try and separate them from one another. The idea was inspired by the bible quote ‘If they keep quiet, the stones will cry out’.

“We should talk about our shared history, otherwise the expanses will have to cry out.

“Many people in Umeå say that they don’t recognise themselves in the Sami profile for the Capital of Culture year in 2014, they don’t think that is what characterises Umeå. I have never considered Umeå to be any kind of Sami Mecca either, but if people knew more about Västerbotten’s history and its relation to the Sami people, I believe there would be a greater understanding for what is happening. There is a reason that many Sami in this region chose to reject a lot of the Sami culture, and that the people who live here today therefore have no relationship with it. It is not the same thing as it not belonging here.”

Do Swedes know too little about Sami history?

“I would like to raise the level of everyone’s knowledge of Sami culture and history so that we can move forward in the debate. There are currently too few people who understand why there is a problem with establishing mines and water power, or why Sami have an exclusive reindeer herding right. It’s like being a feminist and constantly being asked if you hate men. We need to move forward.”

Where do you find inspiration?

“In conflict and in contradictions, it’s extremely exciting.”

With names such as Anders Sunna and Suohpenterror, can we talk about a new wave within Sami art?

“Sami artists have always existed, but there is perhaps a greater demand for our work now. I also think that it is because this is an election year* and it’s smouldering in every corner. There is a feeling that its time to choose sides, which I think feels exciting and scary at the same time. The split caused by the election is unpleasant, with consideration to the mine dispute in Kallak and how it has split Jokkmokk. It’s a small place, and the dispute affects everyone directly. To be a Sami in Jokkmokk now is not just being Sami, but is associated with a number of opinions, which I don’t like. This also applies for non-Sami. Understanding is disappearing.”

We conclude the interview. The light in the Nordic Museum has become duller. Gustav holds us to his chest and we are secure in being one with history. Here, we can melt into the violence and love from Sweden’s history.

Carola Grahn is a stunning beauty where she sits, a heroine fighting for the new country, a country where our history is full of the stories of all its citizens and where respect is shown. “Gustav,” whispers Carola, “you should know what you are carrying in your lap right now, now it’s our turn!”

BY: Andrea Berglund

The article is a reworked version of an interview that was previously published in Norrländsk Journal no.2, 2014.