Introduction  

Isolation is something that we have all experienced in our lifetimes, whether from acquaintances or environments we have all lived estranged; the work of Francesca Woodman and Carolle Benitah perfectly explores this relationship with loneliness in how they present themselves through self–portraits. Much of Woodman’s work can be seen as surrealist and unconventional for 1970s photography. “Even when wholly present in the picture as the subject of her self-portraits, Woodman is never quite with us, never quite with herself.” (reference using Harvard System of referencing) She often uses this Surrealist landscape she has created to maintain a sense of escapism throughout her work. Similarly, Benitah uses photo-manipulation to change the outward appearance of herself in relation to family and heritage. When looking at these two photographers it is important to consider that they are both women photographing themselves, and how the perceptions of their work may be skewed as a result. “In the past, photographs of women were made by men for a capitalist economy to favour the male gaze and feed female competitiveness.” (reference using Harvard System of referencing) When viewing Woodman and Benitah’s work it is apparent it was not made with the objectification of their bodies in mind but made with the intent of reflecting on their experiences as people and women – specifically the isolation that may come from that.