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.
The epic scale and scope of these pictures is matched by the magnitude of their subject material—modern megacities, mass exoduses, global consumerism and so much more.
Each image in this real-life documentary photobook about Israel has a surreal edge to it. Combined, they build into a sweaty-palm, fever-dream composite of a society gone wrong. David Lynch would be hard pressed to create more convincingly weird images.
Photography as poetry, memories, dreams and detailed episodes of a second life lived in the unconscious.