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
Long before iPhones and Instagram: 60 years of one Dutch girl's "selfies" firing a gun into the camera! Outrageous lifetime photo concept — watch her age in the same pose — a split second after she pulls the trigger of her rifles — from age 16 to 88.
Slovakian photographeris interested in is the humanist ethos and the impact on ordinary people of difficult life circumstances and their ability to cope with situations. He reports on the aftermath of the war in Kosovo.
Prix Pictet winnerhas just published a new book of photographs from his award-winning series about the Yangtze river. He talks about his process of making this series in an exclusive for Lens Culture.