A woman's chambers

Anna Tihanyi

2017 - Ongoing

The series focuses on the female psyche and how visual storytelling can work with personality development and intimacy by depicting current situations related to womanhood.


The core idea of my ongoing project ‘A woman’s chambers’ is to show the metaphysical aspect of the universal female existence. As a female artist, while processing my own female self, I talk about identity issues through 10 determining feminine characteristics and roles. With this series I form characters that draw attention to growing issues in our societies by using archetypical characters that talk to us in our collective unconscious.


The idea is based on my personal traits or roles, I personally have been growing up or living with, and which throughout the years, influenced by either external or internal impulses and experiences - they painfully changed. These little "deaths" of my characters or losses led me to the transformation this project is about. The stories talk about the turning points in the direction of change moreover the transmissions towards a spiritual development.

Founded on fears and disappointments, my characters depict current, relevant and common situations related to womanhood. They bring awareness to the complexity of the female psyche and abstractly raise awareness to today’s social global issues such as human rights, gender equality, women’s empowerment and epidemics like abuses, alienation, immigration.


The whole project is based on the tension between stillness and motion, moments and continuity, the characters are built around moments of transformation. To outline the characteristics of each inner woman I use still lives, landscapes, classical portraits, cinematic close ups, abstract elements or other even surreal analogies mixing the staged with random, and the fictitious with real.

My characters - not being able to completely separate them - connect, refer and communicate with each other, forming the sometimes ambivalent segments of the female psyche.

Besides other staged photographs, this series being so close to cinematic narrative, also operates with sequences, photo novels and moving elements. To emphasize the connection to fine artistic approaches, I also mix constructed images with archival prints, personal documents, and intimate objects.


By entertaining and instructing at the same time, I believe film/photographic image is the contemporary form of myth-making, using unconscious projections of archetypes that serve to embody central societal and developmental struggles. My project is built upon many different symbolic system such as religion, mythology, cultural traditions, tales, fine art, tarot, psychology and films. Through researching the history of death, female representation in art, from symbols to different traditions, tribes and nations, I have gained an integrated vision which I include in the structure of these portrayals hoping to be able to reach an audience beyond nation, religion, race, sex or any other aspects besides humankind.

Upon accomplishing the project, the series could be presented internationally through art exhibitions, social events or even conferences that the subject could relate to. In Hungary I already teamed up with "WeAreOpen" non-profit organization that promotes diversity.

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  • Maniac - portrait //

    This character portrays a woman who loses her sense of reality and creates fantasy to live in to be protected. Her parallel world becomes madness and overgrows her.

  • Maniac - Road - Mexico, 2018.

  • Maniac - Where water brought me //

    An analogy to Frida Kahlo’s What water gave me (1938) painting.

  • Childlike empress - portrait //

    This character describes a rite through passage, and talks about the segment of the personality that is stuck in the in-between stage being neither an adult nor a child.

  • Childlike empress - Body //

    This pose represents an erotic but body-conscious mature woman.

  • Childlike empress - Candy - New York City, 2016.

  • Outlander - portrait //

    This woman doesn’t belong to anywhere anymore. No nationality, no religion, no land. Her problematics relates family heritage, roots and nationalism.

  • Outlander - passport photo //

    My maternal grandmother's passport photo from 1950's (Archive)

  • Outlander - Cat's cradle //

    My mother's hands holding Cat's cradle

  • Outlander - Forest - Budapest, 2017.

  • Homemaker- portrait //

    This chapter is characterizing a woman who has always been the perfect host, housewife. This woman also steps up against family violence, and support women rights to study and leaving the classical role of a house keeper.

  • Homemaker - Scars on hand

  • Homemaker - Pile of sugar