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
In the summertime, Lithuanians of all sorts descend on the beachside resort of Palanga—the results range from the comic to the surprising to the just plain weird.
Portraits of farmers and chefs dedicated to sustainability and healthy food — photographed using the wet plate collodion process, a technique developed in the mid-19th century.
visits modern-day Havana and returns with timeless photographs — moody, resigned, and quietly emotional.
Color photographic portraits—melancholy, lonely, and as lovely as paintings.