In my recent series, my mother plays the role of three women in one fictional Latin American home. These photographs can be read as portraits of my mother as her various selves — like a nested doll — and read as images that reveal the conflict of vanity, race and class that live within one woman, just as in one family.
In these photographs the three women, a pair of twin sisters, one lighter in skin color and a maid, are family and they hold both love and contempt for each other in equal measure, but they are also the love and contempt housed in one woman.
My fascination with identity of the self, and my personal relationship to my mother has moved me to make these photographs, an act that through photography and performance allows the real to bubble to the surface.
— Rachelle Mozman
Heroic photographic portraits that question representations of American masculinity, depicting transgender men set against painted backdrops of majestic natural environments.
A series of photographs that explore one woman's relationship with her eccentric, sometimes exasperating father—who she also resembles, admires and loves.
“Right after the Fukushima nuclear plant accident, I found a blog about peacocks that were left in the evacuation zone .... I started imagining those peacocks, walking around the empty town with their beautiful wings spread. The image I had in my mind seemed so far away from what was going on in Fukushima. It was as if two different layers of images – the disaster scene and beautiful peacocks – were overlapping with each other without being unified.”
A master offering his advice on how to see and connect the world while working within the limits of a camera frame.