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Artist's Statement

“Field Mirror photography” is much more than photographing a reflection; it produces a visual alchemy that combines the physical world with that of the great mystery. Photographing with mirrors allows me to see the invisible, and capture a spirit, strength, and human dignity that remains hidden in straight photography. 

The use of elongation in indigenous and Western art has long been an archetype for the unconscious.  The yearning to greet the sun, and the grounded nature of roots, elongates the plant to reach skyward. Following in this tradition, I use my mirror to shine into the internal, deep spaces where we universally connect to something greater than ourselves. The artifact of the mirror illustrates the link between human consciousness and the natural world.

The archival pigment prints are made on rag paper.  I use a split-tones to symbolize our connection to the earth. These subtile tones are those of the earth as seen from space; blue, brown and the paper-white. The silvery blue tones in the highlights represent air; breath, sky, and ocean. The warm brown tones in the shadow areas denote the body of trees, animals, people, and the land. These tones, combined with the elongation, represent our interconnectedness to each other and to the natural world. 

The platinum prints are a single warm tone, with a luminous sheen. These prints use an emulsion made with the fine metal platinum, that is hand coated onto rag paper. Platinum printing is a fine art, 19th century photographic process. 

All my photographs are taken with medium and large format film cameras. There are no digital special effects in any of my work. The prints are all mirror reflections in a genre I refer to as, “field mirror photography.”  This is a technique I created and began using in 1983, in Paris.
I am a multi-racial American living in Normandy, France. My fascination with indigenous culture began at home with family stories when I was a child. Thank you so much for your interest in my work and story. 

Elisabeth Sunday, 2018


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Client Home Album where my work can be viewed in client homes

AFRICA VIII: Omo Valley, Ethiopia, 2011-2012


AFRICA VII: The Akan Fisherman, 2009-2011

Note about this series: The Akan Fishermen have been fishing the shores of West Africa over hundreds of generations.  I met six Akan fishermen along the shores of the Gold Coast in 2009. After talking a while, they began to express concern over the declining fisheries. They fish by night from handmade canoes using only lines and small nets. I asked the men if I could photograph them and they agreed. I urged them to express their love for the sea by using the fish they capture as metaphor in the way they hold them. They chose the fish and made their own poses understanding that their body language and expressions would tell their story. I photographed the same men in 2010 and again in 2011. This last March of 2011, they were much more comfortable with the camera and their deep connection to the sea  and to themselves is fully evident.


See ANIMA here: See ANIMUS here:

Anima  and Animus 
anima: Latin: life, a living being, living; breath; soul; mind The Efe are one of the last remaining hunter-gatherer tribes on earth and live in the heart of deep Africa at its center, just below the equator. Their Eden is the fabled Ituri Rain Forest located in the Congo Basin about a thousand miles from either coast. The Efe introduced me first hand to their animist beliefs during my stay with them in 1988 and 1989. I was immediately fascinated by what I learned: that nature could be viewed not only as alive but as an integrated bio-system connecting everything that breathed to everything else in the environment. The Efe didn’t think of themselves as separate or a part from Nature, they were Nature, along with the trees, flutter of butterfly, creatures, winds, rainsoil: everything that is in the …