Photographer based in Los Angeles and Pioneertown, CA
Mary Rozzi, portrait of the artist
Tell us about yourself, what's your background?
I grew up in Cincinnati, Ohio, where my Aunt Louise, a photographer who studied at the Kansas City Art Institute, had a profound influence on me. She transformed her apartment into a makeshift darkroom, developing prints in her bedroom and rinsing them in the bathtub. I was mesmerized by her creativity, and at 16, I began experimenting with photography in her darkroom. Photography quickly became my passion and a way to explore both myself and the world around me.
Rozzi Klein L'EGGS,from OBJECT RELATIONS, 2024
As a painfully shy person, the camera became a safe space for me to express myself. My friends and I would dress up and take photos at a nearby golf course, and I was always impatient to get the film developed from the drugstore. From the moment I picked up a camera, I knew I wanted to be a photographer. It felt like I had found a missing piece of myself, and the camera became an extension of my soul—grounding me and giving me a voice.
Rozzi Klein BALLOON STUDY 1 b, from OBJECT RELATIONS, 2024
In 1988, I moved to New York City to study at Parsons School of Design, where I immersed myself in the world of photography. I had the opportunity to work as an assistant to Michael Lavine, who was photographing some of the most iconic musicians of the time. Without realizing it, I was becoming part of history, absorbing everything I could while assisting in the 90's music scene where he'd photogrpah bands such a Nirvana and Soundgarden. However, working as a young woman in a male-dominated industry in the ’90s meant that I had to work three times as hard to be taken seriously. This determination led me to assist photographers like Michel Comte, Satoshi Saikusa, and David LaChapelle, whose cinematic approach to photography rally made an impression on me.
"My focus has always been on challenging traditional representations and fostering a sense of trust and intimacy with my subjects."
Rozzi Klein STUDY 3 c, from OBJECT RELATIONS, 2023
In 2000, I moved to Paris, where I truly honed my personal style. I started photographing two women, Lila Rouquet and Chloe Para, who became my muses. Their openness allowed me to explore my voice as an artist, free from the noise of New York and the expectations of commercial work. This period of creative expression also helped me navigate personal challenges, including a dark depression. Photography, once again, became my therapy and my anchor.
During my 12 years in Paris, I developed a long-standing relationship with the luxury brand La Perla, where I was able to explore new mediums, such as moving image, while developing my perspective on how women are portrayed in photography. My focus has always been on challenging traditional representations and fostering a sense of trust and intimacy with my subjects.
Feist, musician (left); Mary Rozzi, photographer (right)
Seventeen years ago, I began a deeply collaborative friendship with musician Feist, capturing behind-the-scenes footage of her recording sessions. This partnership opened new avenues for me, allowing me to experiment with film and deepen the relationship between photographer and subject. Through these long-standing creative collaborations, I’ve come to believe in the power of loyalty and developing ideas over time. It makes the work I do more meaningful—not only for me but also for the subject and anyone viewing the work. This ongoing trust and connection add depth and authenticity to the creative process, making each project a shared journey.
JEANS, Paris, 2004
Despite my success in the commercial world, working with incredible brands like Yves Saint Laurent and Dior, I became increasingly disillusioned by the industry's emphasis on marketing and selling, rather than using imagery and art to inspire people to dream. This led me to found The September Issues Magazine in 2017- a biannual print magazine and platform where underrepresented women and non-binary voices could share their stories and creative visions. I wanted to create a space that fostered education through inspiration while challenging the status quo in fashion and photography.
Founding The September Issues opened the door to new collaborations and opportunities. In 2019, I began my fellowship with Quiet, an artist-led, human-centered philanthropic initiative. Quiet supports thought leaders from all disciplines, offering a platform for artistic and social impact.
Through this fellowship, I’ve focused on amplifying diverse voices and advocating for underrepresented women and non-binary artists. As a mentor—I guide emerging and journeyman artists, helping them find their path in the creative world.
In 2021, my exhibition Fearless was shown at the Remèdes Galerie in Paris, featuring portraits that celebrate beauty, feminine strength, and empowerment. This full-circle moment gave me the clarity to understand how I can best support women in their own creative journeys. Since then, my focus has shifted toward my personal work, teaching and collaborating with other artists on projects that align with my values.
Workshop at Pioneertown studio
Today, I offer workshops and one-on-one mentorships in Los Angeles and Pioneertown . Drawing on my extensive knowledge and experience, I help students develop their own visual narratives and guide them on what it means to be a photographer in today’s evolving landscape. I am committed to keeping the art of analog photography alive, using education and inspiration as my core teaching principles.
Having spent a lifetime behind the lens, I live and breathe photography. It is my lifeline and something I can always rely on. It has become an integral part of my identity.
21677_33, 2024, Digital Digital Photographic Inkjet print on Hahnemühle Photo Rag Matte Fine Art 308 gsm
Images from a work in progress entitled: 'Explorations of the Grotesquely Beautiful' in collaboration with Multi disciplinary artist Mahya Shamai
What are you currently working on and where did the inspiration for it come from?
Currently, I’m working on a book of my life’s work, tentatively titled 'ROZZI : 1986-2026'. Having been a photographer my entire life, from the moment I picked up a camera at 13 to now at 54, I’ve devoted myself to capturing the stories of others while often concealing my own behind the lens. This book will reveal unseen pieces from across my career, telling the story of my personal and artistic evolution, while reflecting the challenges I’ve faced as a woman in the field of photography.
The inspiration for the book came while I was teaching a masterclass on film photography at my studio in Pioneertown. I pulled out a bin filled with thousands of Polaroids from my early career, showing how we used to test lighting and framing, and one of my students asked, "When are you going to do a book?" That question stuck with me and ultimately led me to embrace my own story and finally bring this unseen work into the light.
47880_92, 2024, Digital Digital Photographic Inkjet print on Hahnemühle Photo Rag Matte Fine Art 308 gsm
Images from a work in progress entitled: 'Explorations of the Grotesquely Beautiful' in collaboration with Multi disciplinary artist Mahya Shamai
While I’ve achieved a great deal in my career, much of my work has remained unseen until now. This feels like an artistic rebirth—a chance to share my own perspective and continue championing voices that deserve to be seen and heard.
In parallel with the book, I’ve been collaborating with other artists on various capsule projects. This reflects the same collaborative spirit that led me to create 'The September Issues'. One such collaboration is Rozzi Klein, developed with multidisciplinary artist Désirée Klein. Klein's work, defined by transformation and the exploration of traditional silhouettes through volume and structure, aligns with my approach to photography. Our series 'Object Relations', investigates the connections between objects, subjects, and the spaces in between them, using the symbol of the pearl as a metaphor for resilience, femininity, and layered experiences. We are exploring how we are distinct and how we are deeply intertwined with the material world.
Rozzi Klein STUDY 2 c, from OBJECT RELATIONS,2023
I’ve also recently begun a collaboration with multidisciplinary artist Mahya Shamai, whom I met through The Quiet Fellowship. Together, we are investigating the concept of the 'Beautifully Grotesque', focusing on themes such as the inner child, alter egos, and the tension that arises in navigating darker emotional spaces. This work challenges conventional ideas of beauty and identity, asking us to reconsider what we often avoid or overlook. Though still in its early stages, this project reflects our shared interest in pushing the boundaries of beauty through embracing complexity and discomfort. Like myself, Mahya is also dedicated to carefully crafted surfaces that feature harmonious forms, providing an opportunity to disrupt our usual methods of working. We are finding that even in deliberate attempts to subvert the beauty of a thing, a new sort of beauty emerges and persists.
(Left) 00013_68, 2024, Digital Photographic Inkjet print on Hahnemühle Photo Rag Matte Fine Art 308 gsm
(Right) 8399_54_107, 2024, Digital Photographic Inkjet print on Hahnemühle Photo Rag Matte Fine Art 308 gsm
Images from a work in progress entitled: 'Explorations of the Grotesquely Beautiful' in collaboration with Multi disciplinary artist Mahya Shamai
Alongside these collaborations, I am starting a series called 'Timeless' - a project that revisits my 2001 exhibition in Paris entitled, 'Féminin Pluriel'. Inspired by the poetry of Harryette Mullen, this project re-engages with the same poems, but through the lens of time, transformation, and evolving identities. The original series explored the fluid nature of femininity and the multiplicity of womanhood through bold, intimate portraiture, and 'Timeless' seeks to build upon those foundations by introducing new interpretations of those themes, working with a diverse group of artists across multi- mediums.
BILINGUAL, London, 2016
Timeless explores how identity shifts, expands, and contracts over time, questioning the permanence of certain aspects of self and the transient nature of others. It reflects on femininity as an ever-evolving concept, influenced by societal changes, personal growth, and the dynamic ways we relate to our own bodies and to each other. In this series, I am also creating a dialogue between my past self and who I am now, reflecting on how I have changed both as an artist and as a person. By revisiting these poems two decades later, I aim to create a conversation between the past and present—investigating not only what has changed in the world but also what remains constant in my own narrative of identity.
This project reflects my ongoing desire to push the boundaries of portraiture and narrative, using photography to explore the intersection of personal and collective identity. With Timeless, I hope to capture the depth of those stories while creating a body of work that honors both the past and the present, the individual and the collective.
Innovation does not only happen in the field of technology — it occurs everyday in a creative practice. What do you do for inspiration?
Innovation, for me, unfolds through the people I encounter and the experiences I have. My inspiration evolves, but it’s always rooted in the individuals around me. My mother, a powerful figure of resilience, continues to inspire me, as do my husband and close friends and fellow artists who ground me.
Travel, however, is where I find the most profound inspiration. It gives me the time and space to dream, reflect, and turn my visions into reality. Whether working within healing creative spaces or with commercial clients, I strive to share my vision with love and positivity. Artistic sovereignty is crucial to me, ensuring that my work remains true to my values and voice.
I’m inspired by themes of justice, equality, and the freedom to express, and I explore these through the energies and emotions I encounter in both my personal and professional life. Whether in life’s darker moments or its joys, I find inspiration in these experiences, transforming them into meaningful work that resonates with others.
THERE ARE NO COINCIDENCES II, Los Angeles, 2018
Describe your practice and process. Where do ideas start for you? In the studio or being in the world?
My practice is rooted in the belief that photography has the power to heal, transform, and give voice to those who feel unseen. Having often felt underrepresented in the field, I’m drawn to working with individuals who share similar experiences. This commitment to amplifying underrepresented voices and making a social impact is not just a personal mission but a foundational aspect of my artistic practice.
My ideas typically begin in the world, through my interactions and relationships with people, whether during my travels or within my own community. I’m inspired by real, lived experiences—by the way people navigate their identities and environments. Often, these initial sparks of inspiration are shaped into something more intentional in the studio, where I create space to explore deeper narratives and experiment with form, light, and emotion.
The studio is where the technical aspects of my work come to life, but the heart of my practice lies in connecting with my subjects and fostering trust. It’s a collaborative process that goes beyond capturing an image—it’s about giving people a platform to be seen on their own terms. I strive to infuse each project with purpose, whether I'm working on a commercial project or creating more personal, artistic work.
Ultimately, my process is a balance between the world and the studio. Ideas often take root in everyday encounters, but it’s within the creative space that they are nurtured, developed, and given form. This combination of spontaneity and intentionality is key to my process and to the impact I hope to make with my work.
Studio view
How do you make your work, does it start with a sketch?
The foundation of my style is rooted in classical portraiture, influenced by masters like Richard Avedon, as well as the light and compositions of Edward Weston and the feminine point of view of Sarah Moon. I'm obsessed with quality and have a refined eye for light and detail—every part of the image is carefully considered and balanced with a feeling of spontaneity. I strive to bring emotion and depth to even the simplest compositions, creating imagery that feels timeless. I strive for the viewer to feel that they can see beyond the surface, forming a deeper connection not only to the image but also to themselves.
Gateway, 2024, oil on linen, 4x6 inches, Charlie J. Meyers
Who are your biggest influences?
My Quiet Family, My husband Gerardo Gonzàlez, Photographers: Sarah Moon, Deborah Turbeville, Paolo Roversi, RIchard Avedon, Edward Weston and my mom, Nancy Rozzi
Are there books or films that are an important source of inspiration?
Lately I am still inspired by Paolo Sorrentino’s ‘The Great Beauty’ and Emerald Fennell’s ‘Saltburn’
FEARLESS. Remèdes Galerie, Paris, France. SOLO. 2021
What’s the best piece of advice you’ve been given?
Being here, being you, is more than enough.
As an artist, you are a seed of change. -Sister Peace
What is the best advice you would give to other artists?
Doubt can be a powerful fuel for creativity, but trust in yourself always and forever. Remember, there’s no such thing as failure—what may seem like a mistake often holds the most beauty. Embrace imperfections, as they can lead to unexpected breakthroughs. Success is entirely subjective; it’s not defined by external validation, but by your own growth and fulfillment as an artist. Stay true to your vision and keep pushing forward. Let's go!
CHLOE IN THE GRASS I, Paris, 2004
Stay up to date with Mary Rozzi
Website maryrozzi.com theseptemberissues.com
Instagram @maryrozzi @rozziklein