Anna & Eve is an ongoing narrative project that I started to work on in 2005. This project (as well as most of my work) dwells between fantasy and documentary. Even though all the scenes are staged, they reveal a real relationship of a mother and her daughter.
Anna and Eve were particularly interesting to me when I first met them in 2005 because the boundary between the child and the adult woman was blurred to an unusually high degree. This was primarily due to the mother's young age (23); it seemed at times that she was more of a child than her 3 year-old daughter. It was often hard to tell who held the power and control between the two, and who was learning the essence of being a human in this world.
I was always interested in folk tales as a representation of common knowledge, and their influence on children’s perception of good and bad, and of morality. Therefore, in the earlier work I often applied to my photography a frame of a myth or a folk tale. These photographs are not based on particular tales; rather, they are new myths that represent — through phantasmagoric scenes — my interpretation of the real relationship of this mother and daughter.
In the more recent works, however, I decided to blur the line between the fantasy and their real life to a much higher extent. The little girl becomes so much more aware of everything that is going on in her life. She makes her first steps into adulthood, but at the same time she is still a child who lives in her own world.
My work as an artist-photographer has always been strongly connected to people. Strengths, weaknesses, conflicts, fears, pathologies, unresolved issues of relationships with each other – all these psychological aspects of humanity have been the subject of my visual and conceptual investigation for some time.
My process is very intuitive, and almost meditative, therefore I work exclusively one-on-one with my subjects. As a photographer, my attempt is to create a platform, or environment for something real and yet magical to happen in front of my camera. The staging element is only a tool that I’m using; therefore, the degree of it always varies depending on the subject. I’m looking for those uncanny moments of internal conflict that couldn’t be expressed verbally, but could be felt.
— Viktoria Sorochinski
For both her fashion photography and her personal work,creates images that are soft, romantic, melancholy, outside of time, more dream-like fantasy than anything real.
A series of portraits from Ethiopia intended to increase the visibility of the inhabitants of a land rife with forced resettlements — and also to promote reflection about the identity of a culture in the process of irreversible change.
How much visual information do we really need to see a picture and understand it? How do photographs define our memories, and what would happen if the photos started to lose their details?explores these ideas and more in her new project.
A series of photos inspired by metaphoric expressions that people use in their everyday language — revealing absurdities and confusion that may arise from cross-cultural interpretations.