Andi Gáldi Vinkó’s debut photo book, Sorry I Gave Birth I Disappeared But Now I’m Back, aims to break down motherhood’s taboo status in the art world
? In my head that was motherhood,” she continues, alluding to the scant representation motherhood has typically received in contemporary culture, often engineered by men or presented in ways that don’t correlate with reality. With her debut monograph,, the Hungarian photographer joins a growing movement of artists and writers determined to resolve the erasure of this universal but strangely underrepresented experience.
“I didn’t prepare [for motherhood],” recalls Gáldi Vinkó. “I don’t think you can.” Instead, she approached this new stage as she does all situations strange or challenging, and used her camera. The first of her friends to experience pregnancy, the book was part-conceived as a response to feeling disconnected. “There’s this quote, it takes a village to raise a child, but our society is not living in villages; we don’t have communities.
By the time she had her second child in 2020, Gáldi Vinkó was no longer so alone, and consequently, the series is a mix of self-portraits and photographs of her friends in Hungary. “They love posing for me. They posed in their twenties, they’re posing in their thirties, and I love the idea that they’re ready to pose when they’re 40,” she says, emphasising that this project was a more challenging endeavour than earlier collaborations.
Indeed, her forthcoming work will continue to consider this lived female gaze and its significance in motherhood she says, while interrogating urgent issues like the climate crisis and how one engages as a parent, are new priorities. “The other day my older daughter asked, ‘Are me and my sister going to be running from fire?’ How should I answer this? ‘Probably you are, but you’re only four years old.
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