Mona Zarah
© Mona Zarah
© Mona Zarah
Mona, a freelance lifestyle and portrait photographer, is known for her evocative and unfiltered approach to photography. Based in Switzerland, Mona’s work spans the globe, capturing the raw, emotional, and vulnerable side of her subjects, while pushing the boundaries of what society deems as acceptable. Her eclectic style blends diverse influences and aesthetic principles, making her a sought-after photographer for commercial, personal, lifestyle, and event shoots.
At the heart of Mona’s photography is the celebration of sensuality—capturing the human form and spirit in its most raw and vulnerable state. In the age of hyper-edited, glossy perfection, Mona’s images stand out for their commitment to unvarnished truth. Her work strips away unnecessary embellishments to reveal the genuine beauty of her subjects, where vulnerability and emotional honesty take center stage. Like famous photographer Nan Goldin, who documented the lives of those on the fringes of society with a raw intimacy, Mona focuses on the sensual connection between the subject and the lens, creating deeply personal and evocative images.
Mona’s photographs often address taboo topics—embracing them without shame, making them accessible and relatable through her lens. This desire to bring socially challenging themes to the forefront aligns her work with artists like Diane Arbus, who captured the marginalized and unusual in society, pushing the boundaries of what was considered acceptable in photography. Mona believes that art should reflect life in all its facets, including the parts we may shy away from. Her photography becomes a re-imagined art form that invites viewers to confront and embrace vulnerability, ultimately making the unfamiliar more familiar and the uncomfortable more comfortable.
© Mona Zarah
London Photo Show Exhibition
What inspired you to curate this particular collection of photographs for your exhibition?
This collection was born from my desire to explore the themes of vulnerability and connection in a deeply personal and symbolic way. The first image, of a young woman lying on a table, exposes her naked shoulders, subtly covered by a bouquet of flowers. Her pose suggests a moment of introspection, and by displaying the image upside down, I wanted to challenge the viewer’s perspective on beauty, sensuality, and fragility. The inversion symbolises how we often see vulnerability in an unbalanced or misunderstood way. The second image, placed underneath, shows two hands reaching upward against the Great Wall in Jerusalem, almost as if they are striving to connect with the woman above. This arrangement creates a visual narrative—where the hands, representing human longing, seek to bridge the distance to her. The juxtaposition of these two images creates a dialogue about isolation, desire, and the search for connection in a fragmented world. I wanted to curate this collection in a way that invites viewers to consider their own interpretations of vulnerability and the unseen forces that connect us.
Could you share some insights into the creative process behind these photographs?
Both images were inspired by the idea of physical and emotional distance, and how we navigate those spaces in intimate relationships. For the first photograph, I wanted to capture the delicate balance between sensuality and solitude. The young woman’s pose is both exposed and guarded, and the flowers act as a shield that hints at softness, but also concealment. By displaying the image upside down, I intentionally disorient the viewer, mirroring how emotions can often feel inverted or confusing. The second image of the hands, photographed at the Great Wall in Jerusalem, symbolises a physical reaching out—a universal gesture of wanting to connect across space and time. The creative process involved carefully aligning these two pieces to tell a coherent yet abstract story about longing and the fragility of human connection.
What emotions or messages do you hope viewers will take away from experiencing your exhibition?
I hope viewers are struck by the duality of isolation and connection that permeates these images. The inverted image of the woman may evoke a sense of disorientation, challenging the traditional gaze upon vulnerability and beauty. In contrast, the hands reaching up evoke a yearning to connect or protect. Together, these images suggest that while we may be distant—physically or emotionally—there is always a force, a gesture, or a moment trying to bridge that gap. I want viewers to reflect on their own experiences of isolation, longing, and the unseen connections that bind us to others.
Are there any specific stories or moments from your photography that you would like to highlight in this exhibition?
The story behind the first image is deeply personal, as the young woman represents a moment of surrender to vulnerability, yet her subtle covering by flowers hints at a desire to preserve a sense of dignity. The decision to place this image upside down emphasizes how we often view ourselves or our experiences from a distorted perspective. The second image, taken at the Great Wall in Jerusalem, carries a powerful narrative of spiritual and emotional reaching, symbolized by the hands reaching skyward. These two moments—one of solitary reflection and one of seeking connection—create an overarching story about how we all exist in states of both separation and yearning. The exhibition highlights this tension and the possibility of bridging it.
How do you see your photography evolving in the future, and how might that influence your future exhibitions?
I envision my photography evolving toward more immersive, narrative-driven collections that explore complex emotional landscapes like these. I want to continue experimenting with unconventional displays—like the upside-down presentation—to challenge how people engage with the subject matter. In future exhibitions, I plan to incorporate more mixed media, perhaps blending photography with sound or interactive elements, to deepen the viewer’s emotional experience. My focus will likely remain on human vulnerability and connection, but with a greater emphasis on how space, culture, and physical environments influence our emotional worlds. These future projects will aim to create not just visual experiences but emotional journeys that provoke introspection and connection.
What has been your experience with UPC in regards to this exhibition?
My experience with UPC has been incredibly positive and supportive, especially given the challenges we faced with short notice changes to the exhibition venue and the restrictions on the number of images we could display. The UPC community truly fosters a spirit of collaboration and encouragement, providing a space where photographers can share ideas and support one another through the entire creative process. Despite the limitations, UPC’s team went above and beyond to ensure that each artist had the opportunity to present their work in the best possible way. The sense of camaraderie among the photographers was remarkable, with everyone stepping up to adapt and make the most of the exhibition. This sense of community and mutual support has made the whole experience both rewarding and inspiring.