Emily Zoe works in analog film. Her practice moves between self-portraiture and the intimate documentation of other women — inside domestic spaces, in the in-between hours, at the threshold of something that hasn't yet been named.

She came to photography through the body. Not the body as subject, but the body as a site of evidence — proof of being present, of having moved through something. Photographing herself became an act of witnessing transformation as it unfolded, before language arrived. The resulting series, Proof, is an ongoing archive of self-portraits made on 35mm film — bathroom mirrors, solo car rides under the bright moonlight, ordinary mornings held until they became something else. These are the artifacts of existence. Proof of trying.

She shoots exclusively on film because film asks for presence. There is no review, no correction, no immediate evidence that anything happened at all. What remains is what was actually there — the light, the body, the moment the shutter opened. The tactile, the imperfect, the irreversible. The camera is her language. Film is omnificent.

Her work with other women follows the same logic. In sustained collaborations — among them the ongoing triptych Romer, three women photographed alone in the same hotel room in Hell's Kitchen — she is less interested in direction than in recognition: the moment something honest surfaces and the image catches it.

Emily has work published in Memory Cult and received a first-place award in a juried exhibition. Emily is based in Maryland and often travels to Washington, DC, and New York City.

She is less interested in volume than in resonance. Limited edition prints from Proof and select collaborative bodies of work are available through private editions.