Talia Chetrit's first monograph, Showcaller, published by MACK, presents a life intertwined with photography and yet curiously empty. She remains largely absent from the images, her presence obscured or only hinted to. Her position as an artist undermined by her own efforts to delay and defer her control of the camera. Chetrit's self is defined between the numerous, various images she presents, her self-exploration reflected in her exploration of the camera - early snaps on toy cameras, of pedestrians seen from heights, of suggestive still lifes.
Throughout Showcaller, Chetrit's body is rarely whole, more often cut by mirrors and surfaces that divide, reflect, and duplicate. Objects displace her – a bike seat, a vase, and thigh-high latex boots take their turns in front of the camera – cold parodies of her intimate self-portraits. In some pictures, the camera is taken out of her hands, the decisive moment of exposure given over to a partner who holds the shutter trigger.