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
"I believe that photography is not about creation—it's a process to evoke memory; to refresh something that already exists in our minds; something that is growing weak and abstract and needs to find expression..."
These photos are all inspired to some degree by the language of cinema — the staging of locations, placing bodies in real-life situations, the expressionist use of light, the theatrical play between actors, indications of an off-camera area, effects designed to create tension, veiled references to the logic of genres, and more.
A meditation on loss and collective memory, this series contrasts the sweet innocence of childhood with the pain of losing loved ones later in life.