With In Camera Christiaens juxtaposes her own relationship, her own identity and her own images with those of her parents. In doing so, she calls into question the traditional relationship between men and woman and between photographer and model, both over time and within her own family history. Gazes cross and are reflected within the image, outside the image and through the image. It’s about different perspectives in different times, about similarities and differences. It’s about looking at ourselves, our bodies, our loved ones and others trough the eye of the camera. About exploring the different layers and histories these gazes hold – the gaze of the loved one, the gaze of an artist, the reflected gaze in the mirror – and how they help shape our identity, both within ourselves and through the other.  – Stefan Vanthuyne

Arian Christiaens examines ideas of photographic and familial gazes, recontextualising family images and the photographic genre in a way that resonates with ideas of a reclamation of sites of photography. It’s multi-layered work where family, photographic, and gender-based narratives overlap with material ideas of the photographic image. Her first publication handling these themes was Xenia, published by Art Paper Editions.

80 pages, 22.6 × 34 cm, softcover, Art Paper Editions (Ghent).