Photographers have the awesome responsibility of transforming reality into something which people do not ordinarily see.

Whether this transformation is intended to be social commentary, is intended for utilitarian purposes, or is simply art for art’s sake, photographers’ gifts are something to be coveted. Not everyone has the skill of seeing beauty or abstraction in the world. Photographers demonstrate the subjectivity of reality.  

Moroccan-born photographer, 32-year-old Saffa Mazirh, imaginatively channels her vision of the world into her work.

Fascinated with the body’s movement, Mazirh has worked with several theatre and dance companies. While the motions and gestures of her subjects are clear, their bodies are blurred, making her subjects nearly unrecognizable.

As a common theme throughout her work, Mazirh utilizes light manipulation.

Light manipulation creates shadows which overcast subjects’ eyes. Because Mazirh’s shots are monochromatic and tight compositions, they force the viewer to concentrate on the lightest portions of the images. The lightest portions of the images is often in the middle of the images’ frames. 

First starting out in workshops at fotografi’art, a society of young photographers in Rabat, Mazirh always found herself drawn to surrealism.

Artist and writer Joseph Nechvatal wrote a spotlight piece on Moroccan art in 2015. In the piece, Nechvatal stated:

There is a fragile and lonely sensibility in the figurative work of Safaa Mazirh that is both seductive and threatening, expressing both pain and tender anticipation.”

Mazirh’s works have been featured throughout exhibitions in Morocco and France.

Most notably, her photographs have been viewed at l’Institut du Monde Arabe and l’Institut Français de Rabat.

The Rabat native is revolutionary, but she is also a product of her heritage. The surrealist movement began in both France and French-speaking regions which challenged consciousness. How one views the world and how the world views an individual is not concrete.

In her self-portrait project appropriately named “Autoportrait,” Mazirh once again alarms audiences by leaving herself out of focus and using movement to complicate the image.


Featured Image via Wikimedia Commons.