By removing the facial expression, Fountas forced the viewer to stop looking for adult emotions in children. Instead, we see the child as a creature of pure being—alien, unknowable, and autonomous. She was heavily influenced by the historian Philippe Ariès, who argued that "childhood" is a modern invention. Fountas visualized this argument: she showed us that children are not miniature adults, nor blank slates, but complex citizens of a parallel universe we have forgotten how to enter. Polixeni Fountas passed away in December 2019, leaving behind a husband, the renowned photographer Christian Fountas, and her frequent muse, Olympia. But she left behind something else: a visual lexicon for the strangeness of growing up.
In an era where childhood is increasingly surveilled, scheduled, and digitized, Fountas’s photographs feel like an act of rebellion. They are slow, silent, and mysterious. They remind us that a child in a mask is not hiding—they are revealing something truer than their own face. polixeni fountas
Fountas was not always a photographer. She began her professional life as a criminal lawyer and a law academic—a fact that lends an unexpected gravity to her later artistic pursuits. After studying photography at the Victorian College of the Arts, she quickly abandoned the courtroom for the camera, but she never abandoned the idea of interrogation. Her subject? The mythology of the child. Fountas is best known for her series Dreamchild (2002–2005) and Wonderland (2005–2007), where she dressed her own daughter, Olympia, as Lewis Carroll’s Alice. But unlike the saccharine Disney version, Fountas’s Wonderland was eerie, silent, and profound. Olympia, with her solemn, knowing gaze, did not act the part of a lost girl. Instead, she inhabited the landscape—the dark Australian bush, the empty swimming pools, the Victorian-era costumes—as if she were a ghost haunting a forgotten memory. By removing the facial expression, Fountas forced the