Tabitha Soren’s photographic series Motherload begins with a powerful concept: “This project started as a way to balance my identity as a mother with my identity as an artist.” She acknowledges that there are women artists who navigate motherhood and creativity without doubt, but states, ” Motherload is not for them.“

Soren has established a distinctive presence in the photographic arts, prioritizing the subtle moments of life over the typical “decisive moment.” Drawing from her background as a TV journalist, her work delves into what she refers to as “impediments to the humanistic encounter,” focusing on the challenges that shape our experiences. In Motherload, she adeptly illustrates the chaotic and often overlooked aspects of motherhood that can overshadow a woman’s identity and diminish her creative spirit.

Soren’s statements resonate deeply because discussions about the difficulties of motherhood are becoming more prevalent, yet many still cling to an unrealistic portrayal of maternal life. There is a lingering stigma around acknowledging the challenges of motherhood, as if doing so implies failure: “The pressure to enjoy motherhood was immense in my community, and this project was my way of confronting that pressure and my mixed feelings about being a mom.”

This project directly challenges those societal pressures, presenting a raw and unrefined portrayal of motherhood. Soren reflects, “Instead of joy, I often felt overwhelmed and invisible. The images capture the ethereal feeling of not being a whole person. In the photographs, I’m often out of focus, mirroring my distracted mind. My presence is often hidden as I navigate nursing, napping, and changing diapers. Balancing artistry and motherhood feels like running with weights on.”

While Soren typically seeks clarity in her photography, this series uses soft focus and the passage of time to evoke impermanence. The presence of her two daughters moving in and out of the frame adds depth to the intimate moments captured. This body of work transcends a single woman’s experience, serving as a profound reflection on the complex and often solitary nature of motherhood.

Women artists have expressed rage and grotesqueness in their work, from Judith Beheading Holofernes to The Three Minute Scream, but the portrayal of exhausted, isolated mothers is less common. Soren admits, “I frequently check other women artists’ biographies to see if they are mothers. I think, ‘Her work is incredible, but does she have kids? Are we in the same race?’” While Soren does not claim to have created a new genre, she encourages those interested in modern motherhood to explore Mother Reader. She believes the world is slowly becoming more accepting of discussions surrounding the limitations motherhood imposes on artistic expression: “I had never seen this kind of work before—not because it didn’t exist, but because it lacked a platform. That’s a compelling reason to pursue it.”

The aerial photography Soren employs is especially poignant; mothers often feel exposed to judgment during vulnerable moments. This technique may symbolize a broader perspective on motherhood rather than focusing on individual experiences. She explains, “The camera’s point of view was crucial for keeping the equipment in the room while avoiding interference from my family. It allows for a more universal approach to the subject.”

The locked-off shot is integral to Motherload, as it allows the series to layer moments across a day, encapsulating the beautiful yet challenging intimacy of early motherhood. Soren notes, “In one Motherload photograph, time elongates and space contracts.” She combines all 400 images from the series into a moving time-lapse in My Great American Novel. “One challenge I face as a woman artist is reconciling caregiving and my dedication to art. Men often find it easier to be selfish, and that selfishness is sometimes necessary. My ongoing exploration of motherhood helps me realize that I am both an artist and a mother, and I take pride in both identities.”

Soren’s work embodies persistence and resilience; any frustration regarding the lack of support for women artists fuels her creativity. She reflects, “I feel like a survivor” when looking back at these pieces.

The project serves as a buffer against the overwhelming nature of motherhood overtaking artistic identity, and it speaks to those who acknowledge the struggles faced by women in the arts. Yet, it is not devoid of hope: “My art explores the pain we endure while also capturing the hope that sustains us. This is why my work demands time to create—every piece is layered with experiences, both positive and negative. Understanding psychological states is central to my work, whether the subjects are athletes, babies, or fingerprints. Each image reveals the depth of human experience, which takes time to unfold.”

Conclusion

Motherload, a project 15 years in the making, transcends Soren’s individual narrative, inviting viewers into the collective experience of motherhood. Rather than dissecting identity or detailing specific traumas, her focus is on revealing the subtle, often elusive connections that unite us. This task is challenging, as it necessitates avoiding clichés or sentimentality. Yet, her work remains grounded in the unfiltered reality of life. The title reflects Soren’s husband’s success in publishing a best-selling novel while she focused on “keeping this baby alive.”

For a deeper look at Soren’s photography, please visit her gallery or get in touch.

Rise Art Source: https://www.riseart.com/article/2775/tabitha-soren-motherload Fine art meets contemporary interiors. We're pleased to collaborate with Soho Home to provide original artwork from emerging and celebrated artists.