In many of Eyre’s self-portraits, she is doubled, either as twins, or as a divided figure, with different clothes on either side of her body, and sometimes a line down the middle of her face. She’s usually in a strange yet familiar domestic interior, staring at the camera, self-possessed yet ambiguous. She’s both light and dark, domestic and alien.
“I’m very interested in the magic function of the camera, the way you can take something completely unreal and make it look like it really existed,” she says. “When I first made a double image of myself, and was looking at the negative, I thought, ‘Who is that?’ I didn’t recognize myself any more, and I realized I had found how I wanted to work. I want only those images in which I don’t recognize myself.”