The Body, its Lesson and Camouflage

Since the exhibition in 1991 of self-portraits, "Touching: The Self", Diana Thorneycroft has emerged as one of the most exciting photographers working in North America.

Her recent inclusion in exhibitions along with Joel-Peter Witkin, Andres Serrano, Francesca Woodman and Donigan Cumming has confirmed her place among the most challenging image-makers to merge in the last 10 years.

Thorneycroft's technically beautiful photographs touch on the body as a site for a range of human conditions running from sexual ecstasy to the implications of physical torture.

Her images generate a wide range of personal responses from viewers and critics alike because they insinuate a series of perplexing questions about the confusions of gender and sexual practice and the psychic and physical dimensions of anxiety.

There has been, from the beginning in her photography, a sense of dark, theatrical play and today it would seem appropriate to call her work "Touching: The Selves" - selves that are at once personal and public, individual and social, sensual and technological. (Text by Robert Enright)

Untitled (Family self-portrait)
Untitled (Family self-portrait)
Self-portrait (Dog Face Father Mask)
Self-portrait (Dog Face Father Mask)
Self-portrait (Brother Mask with Toy Gun)
Self-portrait (Brother Mask with Toy Gun)
Untitled (Centaur in the Garden)
Untitled (Centaur in the Garden)
Untitled (Fish Bride)
Untitled (Fish Bride)
Untitled (Bird boy)
Untitled (Bird boy)
Untitled (Loss, Glove, Memory)
Untitled (Loss, Glove, Memory)
Untitled (& if she wakes)
Untitled (& if she wakes)
Pieta (For Yvette)
Pieta (For Yvette)
Untitled (Snare)
Untitled (Snare)
Untitled (Self-portrait with Trachea)
Untitled (Self-portrait with Trachea)
Untitled (Cloven Hoof Mask)
Untitled (Cloven Hoof Mask)
Untitled (Coma)
Untitled (Coma)
Untitled (Self-portrait with rabbit)
Untitled (Self-portrait with rabbit)
Untitled (Bridle)
Untitled (Bridle)
Untitled (Witness)
Untitled (Witness)
Untitled (Mask)
Untitled (Mask)