{"id":505693,"date":"2026-07-03T12:16:53","date_gmt":"2026-07-03T10:16:53","guid":{"rendered":"https:\/\/numero.com\/non-classifiee-2\/how-photographer-nadia-lee-cohen-shakes-up-our-vision-of-women-2\/"},"modified":"2026-07-03T12:17:01","modified_gmt":"2026-07-03T10:17:01","slug":"interview-photographer-nadia-lee-cohen-reshapes-our-vision-of-women","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/art-design\/photography\/interview-photographer-nadia-lee-cohen-reshapes-our-vision-of-women\/","title":{"rendered":"How photographer Nadia Lee Cohen reshaped our vision of women"},"content":{"rendered":"\n
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Nadia Lee Cohen, \u201cNadia\u201d, North Hollywood, Los Angeles.<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Nadia Lee Cohen, \u201cBrooke\u201d, East Hollywood, Los Angeles (Brooke Candy)<\/figcaption>\n <\/figure>\n<\/div>\n\n\n\n
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Nadia Lee Cohen, \u201cFlo\u201d, Bethnal Green, London<\/figcaption>\n <\/figure>\n<\/div>\n\n\n\n
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Nadia Lee Cohen, \u201cGeorgia May\u201d, North Hollywood, Los Angeles (Georgia May Jagger)<\/figcaption>\n <\/figure>\n<\/div>\n\n\n\n
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Nadia Lee Cohen, \u201cLauren\u201d, Boyle Heights, Los Angeles<\/figcaption>\n <\/figure>\n<\/div>\n\n\n\n
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Nadia Lee Cohen, \u201cLili\u201d, Hollywood, California<\/figcaption>\n <\/figure>\n<\/div>\n\n\n\n
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Nadia Lee Cohen, \u201cMickey\u201d, Downtown, Los Angeles<\/figcaption>\n <\/figure>\n<\/div>\n\n\n\n
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Nadia Lee Cohen, \u201cRichie\u201d, Brooklyn, New York (Richie Shazam)<\/figcaption>\n <\/figure>\n<\/div>\n\n\n\n
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Nadia Lee Cohen, \u201cTeddy\u201d, Boyle Heights, Los Angeles (Teddy Quinlivan)<\/figcaption>\n <\/figure>\n<\/div>\n\n\n\n
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Nadia Lee Cohen, \u201cVeronika\u201d, Warley, Brentwood<\/figcaption>\n <\/figure>\n<\/div>\n\n\n\n
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Nadia Lee Cohen, \u201cViolet\u201d, Hollywood, California (Violet Chachki)<\/figcaption>\n <\/figure>\n<\/div>\n<\/div>\n\n\n\n

Against a golden background, a red title stands out: “Women.”<\/em>\u00a0The cover of this new book by photographer Nadia Lee Cohen<\/strong>, published in 2021 by IDEA<\/strong>, already sets the tone. Each one of its pages will talk about women in a very specific manner. These dozens of photographs sharpen the vision of a strong and diverse\u00a0femininity, far from being limited by beauty standards and univocal political ideas. Captured by day or by night in the naked streets of Los Angeles<\/strong>, in domestic interiors\u00a0which bring us back to the glorious days of post-war America with their flowered wallpapers, vintage furniture and fitted carpets, in supermarket aisles, in churches or in local ballrooms, the models embody this diversity by revealing their unique fashion styles, but above all their naked bodies. <\/p>\n\n\n\n

Aside from the young and lanky silhouettes of some models, such as Georgia May Jagger<\/strong>, readers discover older women with hanging breasts, chubbier waistlines and generous hips, sunbed-tanned skin, excessive makeup styles and wigs, as well as corsets worn by drag queens like Violet Chachki<\/strong>. Six years ago, Nadia Lee Cohen<\/strong> started this ambitious series without yet grasping its purpose and grand finale. Still a student and already very fond of self-portraits, the British photographer simply started capturing the people who inspired her. The same way she herself poses in front of her camera, she anchors her models in a strong visual narrative, simultaneously\u00a0recalling\u00a0the great LA movie directors. <\/p>\n\n\n\n

One can think of David Lynch<\/strong>, photographers Alex Frager<\/strong> or David LaChapelle<\/a><\/strong>, the queen of metamorphosis, Cindy Sherman<\/a><\/strong>, and the hyperrealist sculptures of American artist Duane Hanson<\/strong>. With their various expressions of nudity, warm colors and movie-like set-ups, these images deceive and thwart female archetypes in order to best redefine them. \u201cThe most important characteristic of these <\/i>\u2018Women\u2019 is that they are not weak\u00a0: they feel powerful, and in turn, make the other ones powerful<\/i>,” Nadia Lee Cohen writes in the book\u2019s introduction. For Num\u00e9ro<\/em>, the photographer tells us about her projects and inspirations.<\/p>\n\n\n\n

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Violet<\/em> from the Wome<\/em>n series (2018-2021) by Nadia Lee Cohen, Hollywood, California (Violet Chachki). \u00a9 Nadia Lee Cohen.<\/figcaption><\/figure>\n\n\n\n

Interview with photographer Nadia Lee Cohen<\/h2>\n\n\n\n

Num\u00e9ro<\/em>:\u00a0You started the Women<\/em> series six years ago. What was the starting point of this project?<\/strong><\/p>\n\n\n\n

Nadia Lee Cohen:<\/strong>\u00a0The project unintentionally began at university as a smaller photo series that I naively believed I might complete in a year, however, it actually ended up taking six.\u00a0I love photo books and feel that it’s usually the truest representation of a person’s work. It\u2019s an opportunity for an artist to be indulgent in displaying what inspires you without having to answer to anyone. I wanted to create something that had that same authenticity and longer lifespan in a world that feels quite disposable and transient. I was working a lot commercially,\u00a0which of course has its creative restrictions, so the book was like an escape in between those projects and provided me with an opportunity to carry out my more anarchistic ideas. Put simply, the book is a collection of staged fictional narratives featuring people I admire in one way or another.<\/p>\n\n\n\n

There are 100 photographs and as many women in the book, even more, among which we find models, singer and performer Brooke Candy and drag-queen Violet Chachki… How did you choose the people you photographed?<\/strong><\/p>\n\n\n\n

Some are very close friends, others are people I have only met once with the intention of photographing them for the book. Together they are all individuals that I admire or am inspired by, and can portray a character interestingly.<\/p>\n\n\n\n

With the exception of a few pictures, most of the models are photographed alone and often partially \u2013 even totally \u2013 nude. Why did you want to showcase their characters and their bodies in such frontal ways?<\/strong><\/p>\n\n\n\n

Really it was to celebrate the body. Now we are exposed to so much censorship and rules, I find any rebellion against this notion refreshing. I also believe it is important for us to be exposed to varying forms of the body in order to feel connected to our own. The degrees of nudity are determined by whatever the individual personally believes it is to feel \u2018unclothed\u2019, and this naturally differs from person to person.<\/p>\n\n\n\n

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Lili<\/em> from the Wome<\/em>n series (2018-2021) by Nadia Lee Cohen, Hollywood, California. \u00a9 Nadia Lee Cohen.<\/figcaption><\/figure>\n\n\n\n

\u201cIt is important for us to be exposed to varying forms of the body in order to feel connected to our own.\u201d \u2014 <\/em>Nadia Lee Cohen <\/h2>\n\n\n\n

Self-portraiture has played a big part in your photographic practice. However, only one portrait of yourself is included in this book among these dozens of characters, and we are barely recognizing you in it. How different is it for you to photograph yourself and photograph other people?<\/strong><\/p>\n\n\n\n

It\u2019s not too different:\u00a0I try to look at myself as an objective character, though this can be difficult as I have to separate myself from what I recognize in the mirror every day in order to see myself more as a blank canvas. The character is created as a part of my own observations and inspirations. So, these characteristics naturally come through whether they are played by me or someone else.<\/p>\n\n\n\n

Los Angeles is the big theater of this whole series. As someone who was born in the UK, and moved there to pursue your artistic career, do you remember your first impressions of the city when you visited it the first time? Why did you want to give it such an important role in this series?<\/strong><\/p>\n\n\n\n

My first impressions were mixed feelings of both exhilaration and repulsion. It felt like being dropped inside a movie set, as the signage, architecture and light were so familiar from movies I had watched,\u00a0but there was a great deal of notable decay that I wasn\u2019t expecting. Hollywood Boulevard is perhaps the best example of this, in terms of what one might expect to see but actually sees when visiting for the first time. Overall, those are the contrasting themes that inspire me the most and find their way into most of the imagery I make, which is probably why Los Angeles was featured so heavily in the book.<\/p>\n\n\n\n

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Flo<\/em> from the Wome<\/em>n series (2018-2021) by Nadia Lee Cohen, Hollywood, California. Bethnal Green, London. \u00a9 Nadia Lee Cohen.<\/figcaption><\/figure>\n\n\n\n

\u201cMoving to Los Angeles\u00a0felt like being dropped on a movie set.\u201d<\/em> \u2014 <\/em>Nadia Lee Cohen <\/h2>\n\n\n\n

Los Angeles is also the crossing point of many art forms, cinema being one of the most important ones. How do you think this very creative context influenced your practice?<\/strong><\/p>\n\n\n\n

Being exposed to that kind of environment helped tremendously. I began working more as a director, and although this slowed down the process of making still images, it really did benefit the creation of the imagery. Overall, there was a noticeable improvement in terms of preconceived narrative, set design, lighting and general character creation. The concepts were more thoughtfully conceived, like film stills rather than still images.<\/p>\n\n\n\n

You described these photographs as part of a \u201cnon-existent movie.\u201d What movies and filmmakers do you consider essential to the building of your life, career and your own artistic vision?<\/strong><\/p>\n\n\n\n

I usually mention the directors, but for a change I will list some of the movies I love.\u00a0Vivre Sa Vie<\/i>, True Romance<\/i>, Gummo<\/i>, The Birds<\/i>, 8 1\u20442<\/i>, The Shining<\/i>, Goodfellas<\/i>, Pulp Fiction<\/i>, Weekend<\/i>, Night on Earth<\/i>, Paris, Texas<\/i>, Apocalypse Now<\/i>\u2026 They all inspired my initial image-making and helped me to understand the importance of narrative combined with strong imagery.<\/p>\n\n\n\n

As it is highlighted by the opening texts in your book, this work provides a very necessary female gaze on multiple forms of femininity. From your photography studies at the London College of Fashion and then your artistic career, have you experienced and maybe suffered from that prevalence of the male gaze as a female photographer?<\/strong><\/p>\n\n\n\n

I personally don\u2019t feel that I have really encountered that much pushback from the art community as a female. However, I do feel it is still quite male-dominated, especially in terms of directing, and we are ready for a shift here. The internet has allowed individuals to reach out to a wider audience and may be considered to have leveled the playing field enormously. Hopefully, increased opportunities for self-promotion will continue to produce a new generation of prominent female photographers and directors with the confidence to challenge the status quo. In considering the impact that photography exerts on society, viewed through a female lens, images may present the female form as considerably less idealised, thus objectified.<\/p>\n\n\n\n

Women\u00a0by\u00a0Nadia Lee Cohen (2021). The original edition is sold out, but a special\u00a0edition\u00a0including a\u00a0photographic print of Georgia May Jagger is available on IDEA’s website<\/strong><\/a>.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Against a golden background, a red title stands out: “Women.”\u00a0The cover of this new book […]<\/p>\n

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