In their first solo exhibition, Orange, photographers Tanya and Zhenya Posternak scrutinise the act of seeing. Celebrated in fashion and editorial circles for their close-up, soft-focus images, the twin sisters—known for their work with Alaïa, Loewe, and Pop Magazine—often position themselves above or below their subjects, capturing the full scope of the scene. In wider, more scenic images, models, often referred to as characters, are placed within set environments, bringing a more descriptive narrative to life. 

Unlike this wider work described, the ten photographs of varying dimensions on view at Galerie Timonier are not commissioned but taken spontaneously in non-studio environments, such as sidewalks and homes. In this case, the location is secondary, with the figures or objects isolated from any specific place. Within Orange, the Posternaks take on the role of the voyeur, observing what often goes unnoticed—textures and unusual forms that exist from the body to the street. 

According to writer Ròisin Tapponi’s notes for the exhibit, the Posternaks sought to photograph “observations of pulsating humanity in the everyday” and “emotional receptiveness” through magnification. That is, extreme, unrecognisable close-up compositions that start to lose their sharpness. On opening night, one of these images was on full display. A crowd gathered around a magnified face, the figure’s eyes closed, her razor-sharp lashes pinned by a gloopy, thick, honey-like tear, bubbling with light. Onlookers were intrigued by the image's deceptive quality. Familiar objects are seen in an unfamiliar way. Better yet, abstracted forms become uncanny devices.

Elsewhere on the white gallery walls is an image of a purple, ripe plum with a bite taken out of it that appears inedible, and another of a red pleated silk blouse that could be mistaken for a cat’s tongue. The photographs in Orange invite a second, sometimes third, even fourth, look, encouraging viewers to spend time deciphering them. This speaks to the idea that "each image contains multitudes."

In one image, titled Aweng, the Posternaks capture model Aweng Ade-Chuol sipping from a green straw, while her blonde hair, tousled by the wind, takes on a grain-like texture. The absence of her cup in the frame invites speculation. In another untitled image, a brown egg is placed between two thighs, creating a striking contrast. The hard shell of the egg is juxtaposed against arms or legs, emphasising differences in texture and tone. This play with perception extends to ratio, as the photograph is printed to the exact size of the egg, further complicating the sense of scale.

Originally from Kyiv, Ukraine, the twin sisters immigrated to New York City in their mid-twenties after graduating from the National Academy of Arts. They’ve called New York home since and have worked together from day one. Their move reflects the comfort they find in exploring alternate landscapes and forms, playing with perception and creating a contrast against “corporate textures.”

The Posternaks critique how our way of seeing and perceiving is increasingly shaped by the grid-like feeds of Instagram “where we’ve grown so accustomed to a specific scale dictated by Meta,” as they explain. In the digital age, people have become conditioned to consume images in a standardised two-dimensional way—detached from the real-world context.

The photographer's artistic choices are intentional, yet the decision to title the exhibition Orange, when no orange is present, may itself be a statement. Perhaps it’s an invitation to bring colour, texture, and playfulness to the forefront while removing expectations for unsuspecting visitors. A way to see objects and bodies anew.

Orange by Tanya and Zhenya Posternak is on show at Galerie Timonier in New York City until March 25.