"Prodigies in photography are singularly rare; women prodigies virtually unheard of." - Abigail Solomon-Godeau. Francesca Woodman (1[zasłonięte]958-19) has become one of the most talked about, most studied, and most influential of late twentieth century photographers. She started taking photographs when she was barely thirteen and in less than a decade created a body of work that has now secured her a reputation as one of the most original American artists of the 1970s. Woodman brought an understanding of Baroque painting, Modernist art and contemporary post-minimalist practice to her haunting, sensual images. Both in her work with models, and in sometimes disturbing self-portraits, Woodman made a thoroughgoing challenge to the certainties of photography. Interested in how people relate to space, and how the three-dimensional world can be reconciled with the two dimensions of the photographic image, Woodman played complex games of hide-and-seek with her camera. One of the enduring appeals of her work is the way in which she constructs enigmas that trap our gaze. She depicts herself seemingly fading into a flat plane, merging with the wall under the wallpaper, dissolving into the floor, or flattening herself behind glass.