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)