In Erica Nyholm’s photographic body of work, there comes to light a web of effects of mimicry and imitation. It is as if photography, in her artistic practice, were understood as a play of reflection and refraction but not in the usual of sense of a momentary scene engraving itself on the photosensitive filmic surface by refracted light travelling through the camera’s aperture – instead, it is as if every subject were already a reflection of another. Consequently, there is heterochronicity at work as each movement of the shutter records multiple temporalities. Moving between self-portraits, and non-autographic self-portraits of surrogate daughters and teenagers, and portraits of her mother and two grandmothers, the artist explores the resemblance between women: the psychological imprint, the touch, transmitted from mothers to daughters through the medium of the transparent in-between.