Consists of a large tent-like structure and three scaled room dividers. As a symbol itself the tent generates a meditative space for reflection and sanctuary that touches on themes such as escape and adaptation, vulnerability and protection. The room dividers invite the viewer to contemplate the process of concealment, movement and transformation. The tent offers an opportunity to inspect one’s own close relationships and personal challenges. This invitation is further facilitated through programmed Family Constellation sessions with a trained facilitator and open to interested visitors. The tent and room dividers hereby provide a sheltered and permeable space concerned with the notions of orientation, reflection and a room for confrontation and clarification.

Is a series of commemorative sculptures. The style of the work is inspired by Russian nesting dolls – the matryoshka dolls – and lingam figures from India. The sculptures appear as abstract and primordial and are hand-painted with text and photo prints. Each sculpture represents one of the roles in the play The Catalyst, by the artist. The Catalyst portrays the meeting and negotiations between local artisans from Lovozero in Russia and the global design company, Camper.

Portrays aspects of trans-generational memory with the pivotal point in the artist’s family history and their experience with exile and escape. The project unfolds in a series of collages and photographed objects, belongings and reminiscences from and about close family members. The project examines the creation of collective memory through the transference of belongings within families. How stories and experiences are passed on between generations within the objects and how the existence of family members and their struggles is kept alive through heirlooms.

Consists of two parts: a large wall painting referring to  J.F. Willumsen’s eponymous etching Fertility from 1891 which included a short French poem. Translated as “Old art has its old language that the world little by little has learned to understand. New art has a newly formed language that the world must learn in order to understand it.” Brackman reinterpreted the poem as “The old associations have their own situations which I little by little learn to imitate. The modern association has its own construction that I must learn to represent before I can come to the same conclusion.“ The rewriting of Willumsen’s poem turns the idea of biological reproduction toward representation as a ‘closed circle’ rather than a creation of the new. Gravity, 2014 a textile garment,  is inspired by J.F. Willumsen’s representation of his very pregnant first wife, Juliette Meyer, a sculptor in her own right in the Fertility etching from 1891. Gravity is a performance from 2014  and Gravity attire is used in the 10;30 minute looped video, Juliette from 2018.

is a series of modular sculptures and textile pieces installed alongside archival documents such as a copy of the original Canandaigua Treaty of 1794. The treaty marks the agreement between the Five Nations of Haudensausenee Confederacy and the US Government where native lands in New York State were exchanged for various goods such as textiles. Through modular constructions that relate to the understanding of space and delimitation as well as textile pieces made of calico fabrics, the Canandaigua-project mimics the aesthetics of a ‘closeout sale’ and minimalism. It references the devastating agreement of trade of goods for land that took place between the Native Americans and the US Government.

Land was a sculptural installation that focused on the area around the North Sea Route in Russia and explored the impact the influx of people has had on the regions indigenous cultures and the consequences on the lives of people forcefully brought there as prisoners.

Is an installation that explores the fight for utopia, revolution and the roots of disaster. This work explores Soviet history and personal memory, specifically my father’s memory of his childhood and experience in the Soviet prison camp system. I use material from nature, fairytales and Russian Constructivism to explore these themes.

This series is both meant to be physically experienced by the viewer/wearer and used as a contemplative object hung on a wall. The Blanket series was a frame for my exploration of fashion. With each of them I addressed specific themes, for instance gender, symbolism and even psychoanalysis.

LUJA is an experimental platform for the creative expression, development and distribution of objects made in collaboration with indigenous creative communities. LUJA began and continues as a design collective of highly skilled indigenous artisans based around the village of Lovozero, in North Western Russia, who design and produce items made from reindeer. The aim of the project is to develop a platform for local and global dialogue on a small scale and maintain the parameters of intimacy in the production and distribution of indigenous design. An important aspect in the work is to contextualize and document the issues involved in such a project that eventually would become a viable business owned by a cooperative of local artisans.  The work is rooted in raising questions about ‘inspiration’, collective inheritance, indigenous rights and copyright.