“I is another.” This sentence from Arthur Rimbaud epitomizes an expression of modern subjectivity. The photographs of Bettina Hoffmann depict an emotionally charged relationship with the self as other. In them, pairs or groups of women appear in mundane situations, yet at closer glance, it becomes apparent that the women in the photographs are identical. In Hoffmann’s trippy photographic universe, the singular “I” is multiplied and cinematically divided to equal the sum of private and public identity. The work conjures and complicates notions of twins, triplets and multiple offspring; her digitally manipulated photographs suggest the identity nightmare of cloning.