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Carolina Mizrahi's artworks:

Eyeball Machine |
Golden Girls |
Babette |
The Godmothers |
Golda |
Lady in Red |
Ladies in Red |
Silence is Golden |
Like a Boss |
Eeke |
Booby Machine |

Exhibitions

  • Color Human Reflection @ Phifest Contemporary Photography, Milan, Italy (Jun 2018)
  • Antophile @ Daniel Raphael Art Gallery, London, UK (Mei 2018)
  • First Art Fair 2018 (Jan 2018)
  • LXRY Fair 2017 (Dec 2017)
  • Context Miami 2017 (Dec 2017)
  • The Artificial Now @ Daniel Raphael Art Gallery, London, UK (Okt 2017)
  • Solo Show: "Ruby Room" @ The Other Art Fair, London, UK (Apr 2017)
  • Solo Show: "Eden" @ Studio 7, London, UK (Feb 2017)
  • Second Self: Carolina Mizrahi & Juno Calypso @ Arusha Gallery (Aug 2016)
  • Solo Show: "Avatar" @ Bay Gallery, Costwolds, UK (Feb 2016)
  • ASC Bond House Gallery, London, UK (Nov 2015)
  • The Other Fair, London, UK (Sep 2015)
  • Future Map @ Space Gallery, London, UK (Mrt 2014)
  • Future Map @ Art 14, London, UK (Feb 2014)


Carolina Mizrahi

Londen - Verenigd Koninkrijk

Carolina Mizrahi was born in Rio de Janeiro, and after graduating with a BA in Fashion Photography and Styling from the London College of Fashion, she has cultivated an illustrious career in the UK. Her background in fashion design and advertising has firmly established a specific inventiveness of vividly composed fine art photography. Her experience within different art industries has developed a visual rhetoric that addresses gender stereotypes and the representation of women in advertising and contemporary beauty rituals. In the same vein as Warhol, Mizrahi situates her photography on the superficial precipice of advertisement, drawing upon inspiration from a distorted reality that’s frozen in surrealism.

For The Public House of Art, Mizrahi has created a series of supernatural portraits and documentary photographs of surreal devices with cosmetic remedies. Her signature use of colour is not merely skin deep, but a meditated scheme that answers back to the absurd question, is there a safe word in the unrelenting quest to obtain ultimate beauty? As a satirical quick fix, the artist also documents mechanical oddities that dispense physical parts like breasts and coloured eyes. Mizrahi labours in the editing process to evoke realistic textures to create a virtual, hyper-femininised world that subverts the voyeuristic gaze with satire and shatters gender conformities.