║ Carrie Will ║

© Carrie Will, from the series I Am Redundant © Carrie Will, Rikki and Carrie, Fire Island, from the series I Am Redundant “I am redundant, half of a whole, a freak, identical and lucky. The relationship I have with my twin sister is tightly woven, beautifully strange and difficult to explain. This has led me to explore a visual language that articulates the intimacy and the oddity of being a twin.  Having been subjected to stares and double takes my whole life, I use photography to exaggerate the gaze of others and to illustrate the interconnectedness of our identity.  … Continue reading ║ Carrie Will ║

║ Shadi Ghadirian ║

 © Shadi Ghadirian, Domestic Life #4, from the series Like Every Day (Domestic Life), 2002  © Shadi Ghadirian, Domestic Life #7, from the series Like Every Day (Domestic Life), 2002 © Shadi Ghadirian, Domestic Life #13, from the series Like Every Day (Domestic Life), 2002 “Ghadirian made her Like Every Day Series after her marriage to fellow photographer, Peyman Hooshmand-zadeh. In this body of work, Ghadirian comments upon the daily repetitive routine to which many women find themselves consigned and by which many women are defined. Each of these color photographs depicts a figure draped in patterned fabric in place … Continue reading ║ Shadi Ghadirian ║

║ Aneta Grzeszykowska ║

© Aneta Grzeszykowska, Untitled #21, from the series Untitled Film Stills, 2006 © Aneta Grzeszykowska, Untitled #30, from the series Untitled Film Stills, 2006 “A precise, and truly Warsaw, remake of Cindy Sherman’s seventies classic “Untitled Film Stills” starring Aneta Grzeszykowska. In contrast to the original, Grzeszykowska’s photographs are in color. The initial composition and makeup has been strictly observed, while the props, clothes and setting has been chosen by the artist according to the modern standards and local possibilities. The restaging of all 70 photographs took one year. The role-play has reached its peak – effacing her own personality … Continue reading ║ Aneta Grzeszykowska ║

║ Javier Marquerie Thomas ║

© Javier Marquerie Thomas, Beltrán, from the series Flight of Fancy, 2007 © Javier Marquerie Thomas, Vivian, from the series Flight of Fancy, 2007 “Flight of Fancy; to daydream. Between the impetus of infancy and the inertia of maturity. “The best years of our lives”. Years envied, idealized, over rated. An extensive cloud of anecdotes. An accumulation of memories without a clear continuity. In retrospect, a “phase”. During puberty, we are conditioned to successfully confront the “real world”, but instead we live in a disoriented fantasy; hybrid between something that really has been and a tale. My mother tongue, apart … Continue reading ║ Javier Marquerie Thomas ║

║ Andreas Weinand ║

© Andreas Weinand, Julia und André, from the series Finding Oneself, 1990 © Andreas Weinand, Gero und Olli, from the series Finding Oneself, 1989 © Andreas Weinand, Anna und Gero, from the series Finding Oneself, 1990 “While reflecting on my own youth, the cycle Finding Oneself developed from 1988 – 1990 in Essen. The philosophy of life held by the people I photographed during this time reminded me in a way of my own philosophy as a young person in the ’70s, that of not seeing in society a chance for one`s future. The protest of not conforming to society`s … Continue reading ║ Andreas Weinand ║

║ Katarina Radovic ║

© Katarina Radovic, Untitled #7, from the series Women, 2004/05 © Katarina Radovic, Untitled #17, from the series Women, 2004/05 “In this series of (self-) portraits I am presenting imaginary types of women that I find attractive, according to a somewhat twisted taste. These fictive female characters are parodies of the values imposed by society and culture but, within the stereotypical systems of representation, then eventually reveal their “faces”, expressing their unique fantasies and madness. (…) “Women” are not just the result of exploring the possibilities of emancipation in a society marked by gender differences; they are fabrications of everyday … Continue reading ║ Katarina Radovic ║

║ Nicholas Prior ║

© Nicholas Prior, Untitled #44, from the series Age of Man, 2003 © Nicholas Prior, Untitled #30, from the series Age of Man, 2003 “This project explores the subject of childhood as a social construction. It is influenced by Freud’s writting  on The Uncanny and the idea that an adult can not look back on childhood as a child, which implies an impenetrable and mysterious chasm between adults and children.” Nicholas Prior To see more of Nicholas’ work click here Continue reading ║ Nicholas Prior ║

║ Anoush Abrar ║

© Anoush Abrar, Catherine, from the series Californication, 2003 © Anoush Abrar, Marianna, from the series Californication, 2003 “The film studios, the celebrities, the entertainment capital of the United States- the state of California revolves around the film industry and its success. Projecting an image of fame and fortune, beauty and happiness, Hollywood draws people like a magnet. I started this photo project in Los Angeles because I wanted to get as close as possible to the young people who flocked to this city seeking fame and fortune. The main idea was to focus on women ? the hopeful starlets … Continue reading ║ Anoush Abrar ║

║ Wilma Hurskainen ║

© Wilma Hurskainen, Untitled, from the series No Name, 2007 – © Wilma Hurskainen, Untitled, from the series No Name, 2007 – © Wilma Hurskainen, Untitled, from the series No Name, 2007 – “In my new series No Name I go further with the themes of childhood and memory. This time childhood and adulthood, like layers, are present in the same photograph. I re-create my memories, some of which are false or invented, and continue the visual representation of these memories by loosely attaching texts to the pictures. By doing this I try to find out and question the means … Continue reading ║ Wilma Hurskainen ║

║ Anna Rackard ║

© Anna Rackard, Untitled, from the series Farmers © Anna Rackard, Untitled, from the series Farmers ‘Farmers’ is an exploration of contemporary rural identity in Ireland. Specifically it examines the role of women in farming and their invisibility within the family farm. Women have always been involved in farming in Ireland, usually as a spouse, sister or daughter. Studies show that despite the process of modernisation rural farming identity is still based on a traditional, patriarchal construct – the visible representation of the family farm is usually of the male farmer who owns the land, is subject to taxation and … Continue reading ║ Anna Rackard ║

║ Gaston Zvi Ickowicz ║

© Gaston Zvi Ickowicz, Untitled #2, from the series August 06, 2006 © Gaston Zvi Ickowicz, Untitled #6, from the series August 06, 2006 “The images in the series “August 06″ were taken in the summer of 2006, during the cease-fire between Israel and Lebanon. These photographs portray Ickowicz’s view of the war  a dark cloud that is at once present and absent. The images in this series examine the traces of a war that faded as quickly as it had begun  the vestiges of its contaminating presence.” To see more of Gaston’s work click here Continue reading ║ Gaston Zvi Ickowicz ║

║ Carmela Garcia ║

© Carmela Garcia, Untitled, from the series Paradises, 2003 © Carmela Garcia, Untitled, from the series Paradises, 2000 “The photograph’s eroticism is not always lesbian yet it obviously belongs to that space among women. Carmela Garcia’s work neither touches on nor focuses on this theme directly, though it does convey discernment to it, questioning and challenging it. Garcia’s work has no political agenda or biographical and existential intentions. Though it could be argued that the subjects of her photographs draw on and involve discourses related to questions of identity and gender, her fictions and fantasies always unfold as representations of … Continue reading ║ Carmela Garcia ║

║ Jean-Christian Bourcart ║

© Jean-Christian Bourcart, Untitled, from the series Stardust, 2006 © Jean-Christian Bourcart, Untitled, from the series Traffic, 1999-2001 “In Jean-Christian’s photos, which are sometimes printed almost lifesize, he opens the door but a bit shyly, not intruding, as if hanging back in the doorway. The empty rooms are portraits in themselves, full of clues to the occupants’ identities. They are touching, in the womens’ almost pathetic attempts at creating an air of eroticism with their posters, their fake satin sheets covered with towels instead of blankets offering nowhere to hide, and their heart-shaped pillows. The Hawaiian room, the Elvis room, … Continue reading ║ Jean-Christian Bourcart ║

║ Inbal Sivan ║

© Inbal Sivan, Baroque, 2003 © Inbal Sivan, Nude, 2007 “Inbal Sivan’s images borrow heavily from traditions in art history, including aspects of the “male gaze.” It entails inactive women looking at some vague point off-camera suggesting that they are not engaged with their audience (or with anything) but rather have appeared, conveniently, to be looked at. Ironically, the art Sivan references in her work has been made almost exclusively by men. The images created by these men are laden with burdens; long-standing conventions of art history, sexual interest and social gender roles. As a female artist, Sivan feels less … Continue reading ║ Inbal Sivan ║

║ Margarida Correia ║

© Margarida Correia, Alison, from the series Saudade, 2004 © Margarida Correia, Rosário, from the series Saudade, 2004 “The Portuguese word, Saudade, the title of Correia’s ongoing photographic project, describes a sadness caused by the absence or disappearance of people, things, states or actions and is steeped in nostalgia and memory. To quote from Pablo Neruda’s poem of the same name, “Saudade is to feel what no longer exists.” It is Margarida Correia’s intention in her recent work to illustrate this idea by asking her contemporaries to share items that they have inherited or saved, and the family photographs that … Continue reading ║ Margarida Correia ║

║ Shirin Neshat ║

© Shirin Neshat, Untitled, from the series Zarin, 2005 © Shirin Neshat, Untitled, from the series Zarin, 2005 “My themes always seem to develop as a personal inquiry toward certain issues that I am faced with as an individual; for example my resentment and questions toward political powers or events such as the Islamic revolution (1979) that has determined the course of my life and so many other Iranians’. Consequently this path naturally has pulled me toward a larger cultural investigation, which I happen to care deeply about. Therefore, to properly analyze my work, one must always consider both its … Continue reading ║ Shirin Neshat ║

║ Julia Peirone ║

© Julia Peirone, Girl Behind Window, from the series Northern Cities, 2005 © Julia Peirone, Girl and Bubble, from the series Northern Cities, 2005 “One of her more recent projects is titled Northern Lights. The Nordic Photography Centre in Oulu, Finland, chose Peirone to work with a team of photographers to document life in six different northern cities. The purpose of the project was to interpret urban reality and dispel the myth that the northernmost edge of the continent is all Laplanders and reindeer. Peirone and a small group of selected photographers travelled from Murmansk, Russia to Reykjavik, Iceland to … Continue reading ║ Julia Peirone ║

║ Hendrik Kerstens ║

© Hendrik Kerstens, Red Hair, from the series Paula’s Pictures, 2007 © Hendrik Kerstens, Blond, from the series Paula’s Pictures, 2007 © Hendrik Kerstens, Red Habbit IV,from the series Paula’s Pictures, 2009 “When Hendrik Kerstens decided to dedicate himself entirely to photography in 1995, he turned to a model very near at hand: his daughter Paula. He wanted to document all the important moments in her life, to ‘be there’, to capture something of the fleeting moments that fade from memory all too quickly.The inquisitive eye of the photographer plays an important part in the process: he sets out to … Continue reading ║ Hendrik Kerstens ║

║ Bettina Flitner ║

© Bettine Flitner, Boatpeople Nr. 13, from the series Boatpeople, 2007 © Bettine Flitner, Boatpeople Nr. 23, from the series Boatpeople, 2007 “Bettina Flitner bought a fisherboat in Burma, at the Inle Lake situated on a high plateau in the Shan mountains, near the Chinese border. She took this primeval barque to Germany and photographed different people in the boat on the River Rhine. They are voyagers, fugitives, drifters. They are alone, in pairs, or in a group. These realistic and mystic scenes alternate in this sometimes ironical, sometimes melancholical procession.” source: Lodz Photo Festival To see more of  Bettina”s … Continue reading ║ Bettina Flitner ║

║ Paula Muhr ║

© Paula Muhr, Untitled #8, from the series MM, 2005 © Paula Muhr, Untitled #11, from the series MM, 2005 “The series explores issues relating to childhood memories, intimacy, and anxiety about the imminent future loss. Stark, often almost abstract images of my grandmother’s body, naked or in underwear, are combined with texts in which I express my memories of the childhood spent with her, re-tell anecdotes from her youth or describe her current habits. The interaction between the images of her aged body, presented in fragments, and the words which offer a very personal and, therefore, partial insight into … Continue reading ║ Paula Muhr ║

║ Jessica Backhaus ║

© Jessica Backhaus, Pink Beata, from the series Jesus and the Cherries, 2004 © Jessica Backhaus, Violetta by the lake, from the series Jesus and the Cherries, 2003 “For many years now I have played with combining portraits and still lifes. It is a process where I play around with different images and see how they can work together… and create their own world, even though they are individual images. Again it is more the approach of a hunter, following your instinct and feeling. There is not always an explanation. I admit that I really like this part of my … Continue reading ║ Jessica Backhaus ║