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In the last years sigal Avni has been photographing two women, a mother and her adult daughter, using traditional techniques in black & white photography. The symbolic impact of blackness as nothingness in black & white photography is the backdrop against which the artist 'sculpts' and 'welds' together the separate limbs of her two models, to create a hybrid creature, with a life of its own.
The visual imagery depicts the relationship between Avni's models - a mother and her adult daughter - and at the same time it also acts as some biographical manifestation of her relationship with her own mother, which on reflection is not unattached to the artist's preoccupation with sexual identity in general and her own in particular.
Yet this work extends beyond Avni's own personal experience and/or that of her models, to deal with a metaphoric realm
touching on fundamental and universal conflicts between mother and child. It touches on such issues as facing death at the moment of giving birth and the unresolved conflicts between growth and castration, acceptance and rejection, dependence and alienation.
The woman featuring in these photographs also engages in dialogue with the cultural codes associated with the ideal female Western look. She exposes the older woman's age and the younger woman's mutilated imperfect scarred, stained and wounded skin, the signs of her self mutilation activities. The outcome image is seen to be actively exposing the authentic aspect of femininity to be found behind the veil of 'the ideal Western look'; it acts as a counter model to the commonplace model of 'feminine beauty'. Sometimes it is the antithesis, almost the grotesque version of this look - defiant to the cultural codes that determine what is and what is not femininity.

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Under The Skin