The American photographer is noticed in the late 1970s when she begins capturing herself, clad in an arsenal of costumes, wigs and made up to incarnate various characters in intriguing tableaux, from little girls to clowns, celebrities such as Marilyn Monroe or Lucille Ball as well as art history subjects borrowed to Botticelli. Inspired by cinema, art, fashion and photography, Cindy Sherman questions how contemporary media expose women but also analyses gender and class identity by the use of the grotesque and a certain playful regression that has to do with childhood and dress-up games. With her self-portraits, the American artist hands a mirror to spectators and the Zeitgeist, and the more we see of her, the less recognizable she is. She has always managed to appear in her photographs without giving anything away about her intimacy: ‘I’m not about revealing myself’. In a way, Cindy Sherman had presaged the age of Photoshop and reality TV makeovers, an age when transformation and distortion have become a norm.