At The Table Diana Sosnowska

The characters UK photographer Diana Sosnowska embodies in her photographic self-portraits aren’t randomly pulled from the ether. Her heroines are meticulously constructed from disparate sources. They can be infused with the pathos of one of Euripedes’ heroines or drawn from an episode of the Twilight Zone, but always fabricated in a midcentury aesthetic from whence she draws so much inspiration. Staged in a lake-side cottage in Florida, ‘At the table’ consciously references artist Edward Hopper’s 1914 painting ‘Soir Bleu’. Similarly to Hoper’s piece, ‘At the Table’ has a central theme of melancholic detachment represented in the central figure’s aversion to the viewer’s glare. We see Sosnowska using her familiar stylistic trope of a window in the frame to highlight the viewer’s voyeurism, a subtle reminder that we’re looking in but are also detached and removed from the subject. By placing this disconnect between us and the subject, the photographer creates the space for the viewer to invent their own narrative.

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