Cindy Sherman is a Hitchcock heroine, Marilyn Monroe, a corpse, a disfigured sex doll, a clown, the grotesque monster that has been seen so frequently in B rated horror films, and the list only goes  on.

The subject of her own camera, Sherman uses the uncanny ability to transform herself from a striking housewife in one shot, to an array of disturbing and macabre scenes in others.

These pieces of work subconsciously force the audience to self-identify with each ridiculous Hollywood stereotype she so often portrays in her photographs.

Sherman was one in a handful of women in a male dominated industry. Setting out to create photographs how she wanted them to be, Sherman created her own style of art; the infamous working methodology of socially critical photography that rose to artistic recognition in the late 80s.

She does not shy away from the appalling, producing an unsettling series of photographs involving limbless mannequins in interesting sets of positions that only people with removable body parts could pull off.

Refusing to subdue to any critics thoughts on pornographic photographs, Sherman makes it clear that she is not trying to please any audience. She creates for herself.

Much like her art, Sherman lives her life outside of the box. She doesn’t define her life by the lines that society placed on her, often times venturing into the streets in full costume. Just the fact that Sherman does not mind turning herself into a rotting, mutilated corpse and photographing herself is more than enough reason to realize that she is one bad ass woman.

– Taylor Wojick