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The publication features a series of portraits, of old friends and intimate acquaintances including LaCava taken over an year period from to But its origins can be traced back much further. She would photograph me in my bedroom and her bedroom, all around our apartment.
The publishers combed through and selected from hundreds of her images, and worked alongside Bredahl as she created new ones. In Love Me Again , the reclining body in particular stands out. Shooting in locations such as Paris, New York, Mexico City, as well as her native Copenhagen, Bredahl largely rejects the outside world for interior spaces, her subjects pictured in bedrooms, bathrooms and living room floors. Bredahl cites Chantal Akerman and Tracey Emin as influences, a filmmaker and artist who also worked to rescue the recumbent body from the male gaze.
She was always lying down and this is an image that has stayed with me. The book features several images of her friend Klara with her daughter, Bobbie. In the first they are photographed in the bath; taken via the ceiling mirror, their image is fractured into a triptych. Her face is covered with her hair as she kisses Bobbie, while she looks directly at the camera. In other portraits, children who perhaps seem too old for it, are cradled by their mothers.
When she was 13, Bredahl moved away from her home to live with another family in a more affluent area of Copenhagen. But she feverishly returns to this time in the content of her images. Young women and girls populate the portraits, with Bredahl proudly capturing an incipient sensuousness that can be a site of moral anxiety. In one she is in bed with her feet in the air, balancing a cat on her feet in her lilac bedroom. From the ages of 14 to 21, Bredahl worked as a model and while this experience introduced her to photography, it also left her with questions about the ethics of photography, and in particular the safety of her subjects.
