When photographers Rona Bar and Ofek Avshalom first sought subjects for their project Proof of Existence, they discovered a compelling dynamic between two artists, Lois and her mother, Carey. The series originally aimed to transform models into surreal, exaggerated versions of themselves within domestic settings, but the duo was struck by the pair’s relationship and their vibrant, art-filled home. They initially contacted Lois after discovering her work on Instagram, eventually leading to a deep, two-year collaboration that spanned countless rooms and personal artifacts.
The creative partnership between Bar and Avshalom, known as Fotómetro, began in Tel Aviv before they relocated to London in 2022. Their first major joint project, Us, explored the private lives of couples within their homes. Having moved from individual work to a shared artistic voice, the pair realized their collective efforts resonated more deeply, a shift that eventually mirrored their own romantic relationship. This investigative approach to identity and environment became the foundation for their work with Lois and Carey, a series that captured how heritage is passed down and reinvented across generations.
A striking example of this intergenerational transmission appears in their work through the way Lois and Carey express their Jewish identity. In one early photograph, Lois is seen in a kitchen wearing a latex mask and bodysuit adorned with the Star of David, while her mother works at a table nearby. This blend of performance art, fetish culture, and traditional symbolism served as a departure from typical representations of faith. The artists note that the house itself feels alive, with the inhabitants’ interests—symbols, motifs, and personal artworks—spilling out onto the walls.
The duo’s portrayal of the pair often emphasizes contrast, juxtaposing ordinary domestic chores with surreal elements. One notable image features the mother and daughter in their garden, a space maintained daily by Carey. The photograph is carefully staged yet captures an authentic emotional truth about their coexistence. In other works, the photographers document the pair’s comfort with nudity, highlighting an unguarded closeness. While the mother and daughter rarely verbalize their affection with phrases like “I love you” or frequent physical touch, they exhibit intimacy through acts such as Lois tattooing her mother, using her body as a living canvas.
The depth of this project extended beyond the camera, turning the professional relationship into a lasting friendship. The photographers often visited the house without equipment, and they are currently producing two films—one focused on Lois and one on Carey. This body of work has garnered significant professional recognition. In 2023, their portraiture was featured at the National Portrait Gallery as part of the Taylor Wessing Photography prize, and they are set to exhibit there again this November, as Lois and Carey in the Garden was selected for the Winston Taylor Photo Portrait prize.
Their career milestones include winning the 2025 Eve Arnold Photography prize, presenting the solo exhibition Proof of Existence at London’s Cicek Gallery that same year, and participating in Photo London 2026 with Bright Gallery. They have also published two books: Us with Snap Collective in 2022 and the collection Lois & Carey with 89Books in 2026. Reflecting on their journey, Bar and Avshalom emphasize that technical skill is secondary to the pursuit of a personal artistic voice. They advise artists to treat their work as a genuine calling, prioritizing curiosity and persistent questioning over following fleeting trends. The report also notes that born: Israel, 1995 High point s: Exhibiting at the National Portrait Gallery in London as part of the 2023 Taylor Wessing Photography prize (we will exhibit there again in November – Lois and Carey in the Garden has bee. The report also notes that exhibiting at Photo London 2026 with Bright Gallery Top tip s: The most important work is the never-ending process of personal exploration and developing your own artistic voice. The report also notes that then photographing them in everyday settings, that series involved transforming models into surreal or exaggerated characters based on aspects of themselves. The report also notes that in the form of artwork, motifs and symbols, it was amazing to see how the things they’re interested in seem almost to spill out of their bodies and on to the walls. The report also notes that so we just kept going, they welcomed us with open arms and it was very easy to work with them. The report also notes that and two years after meeting them, we would still be finding new rooms, new walls, new knick-knacks, they gave us completely free rein. The report also notes that with its bright pink fireplace contrasting with the peeling walls, one of our favourite photographs is of Lois’s abandoned childhood bedroom.
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