Talia Chetrit’s career has been an ongoing exploration of what remains hidden in the practice and mechanisms of photography. Her works make frequent use of isolation, obscuration, and distortion, such that her subjects become abstracted and not immediately recognizable. She also inverts conventions of positive and negative space, horizontal and vertical orientation—these extreme effects are not the outcome of post-production processes, but are actually the product of a skillful technical grasp of the medium. There is often an underlying psychological or intimate narrative underpinning the works. In a recent series, she revisited some of the first rolls of film she shot in the 1990s of her own family; other works allude more explicitly to sexuality and the body.