Dysmorphia

In Dysmorphia, the body becomes an unstable image, stretched and bent by the fractured reflection of the self. The models stand before a bent mylar backdrop and look at themselves. The sheet returns faces and bodies they cannot see as they are. Between the eye and that reflective sheet, perception builds an altered reality in which anatomy is filtered through self-questioning and doubt. The familiar act of looking at oneself turns into a search for a likeness that will hold.

A mirror carries the authority of something seen for oneself. Even when its surface is visibly unreliable, the image it returns still feels like a judgement. The body is made to answer for a distortion that belongs to the sheet and to the habits of seeing. In Dysmorphia, this misplaced trust in the image is part of the encounter with oneself.

Everyone lives with two versions of the body: the one felt from the inside, with its weight and reach, and the one seen in a mirror or in other people's eyes. Dysmorphia photographs the moment the two separate. Social pressure and internalised ideals widen the gap until the reflection shows something harsher than what is actually there. What happens silently inside perception takes physical form in front of the lens. These photographs make no clinical claim. They show what it looks like to see oneself differently.

That scrutiny also turns toward the viewer. Looking for a familiar face in the warped surface brings expectations of proportion and coherence into the act of seeing. What happens to a person when an altered image is treated as the final measure of their body?

The body is not fixed. The gaze is never neutral.

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