Regarding her series “If you get married again, will you still love me?” she resorts to fabricated images, using actors who perform their role in public spaces; The use of a public spaces to show a scene of a familiar conflict increases the intensity of the feelings, strengthening the tension between the personages. For example, we could appreciate this on the scene where a father and his daughter are in a restaurant waiting for the order, exposing publicly the distance between them.

The pictures of this series seem stills of a movie, having a kind of cinematic effect that the author does not try to dissimulate; the scenes and the expression of the actors are very neat to be real. However it explores different situation a family distancing between parents and how both children and parents deal with that situation, the last ones try to compensate by any means the trauma of their children.

Her series “They all say please” is based on prayers collected from a forum where people anonymously leave their petitions. They are prayers with answer, with titles as evocative as “Please restore my beauty to me”, “Please reunite us soon” or “Please strengthen my heart”. They reflect the loneliness of contemporary man, and the author says on her web site “I realised that, at some point in my life, many of these prayers had subconsciously been my own.”

Lastly, on her series “Disrupted vision” she took a picture of a strange with a Polaroid camera, asking immediately to the subject what he would change if he were the photographer. These texts clearly influence the way we read the picture that demands a second look where we try to guess the motives of the commentary of the subject.

Sharon Boothroys is also the founding editor of Photoparley. A website dedicated to discussing photographic art with innovative contemporary photographers.

If you get married again, will you still love me?
They all say please
Disrupted Vision