Matresence, 2026

I have been documenting my experience of motherhood through a series of self-portraits, returning every few years to photograph myself as I am in that moment.
The series began during pregnancy with a portrait referencing an iconic image of Demi Moore. I looked strong, determined and whole. It was staged and performative, shaped by how I imagined that strength might carry into motherhood.

Over the following six years, I have lost sight of myself within the shifting identity of motherhood, a transition known as Matrescence. In returning to the camera, I have gradually stripped away the urge to perform. There are versions of myself I barely recognise, and others I now look back on with softer, wiser eyes.

This photograph was made with my children, aged two and four. Much of the shoot did not go to plan, but I resist seeing it as a failure. The interruptions, disorder and lack of control became part of the image itself.
Motherhood has altered the way I see myself, and the way I allow myself to be seen. This series attempts to hold onto shifting versions of self, without correcting, polishing or performing them into something more easily understood.

Australian photographer Katherine Griffiths lives and works on Gadigal Country. Her practice is linked thematically through female identity, motherhood, and the shifting terrains of the human psyche. She adopts an autobiographical approach, drawing on personal experience to inform work that moves between intimacy and a cinematic sensibility.
Through her images, Griffiths reflects on moments of presence, vulnerability and connection, seeking to capture honest in the encounter between subject and camera.
Griffiths graduated with Honours from ANU School of Art. She has undertaken residencies and presented solo and group exhibitions. Her photographs have been recognised in national and international photography prizes.