Rineke Dijkstra has been revisiting the portraiture genre since the early 1990s.
She uses photography and video to explore the truth through her young subjects: teenagers, freshly recruited soldiers, amateur toreadors, women giving birth. In their faces and poses she records signs of their confrontation with their changing bodies. These anonymous subjects retain a mystery, paradoxically maintained by the treatment of the image: the frontal framing, with crude or subdued lighting, maintains a distance. For Dijkstra it is not as important to record reality as to capture by surprise, almost without the subject realising, a growing awareness.