Carlijn Jacobs’ Making Faces (2026)

The transformative power of face paint, a vibrant childhood memory, finds its enduring echo in Carlijn Jacobs’ latest photographic endeavor, "Making Faces." This evocative new book, launching on May 7, 2026, at Nuovo in Paris, delves into the profound connection between ephemeral artistic expression and the formation of identity, particularly during the formative years of childhood. Jacobs, a Dutch photographer renowned for her exploration of beauty, artifice, and disguise, draws a direct lineage from her own early experiences to the captivating imagery presented within "Making Faces."

The genesis of the project, as revealed by Jacobs, is rooted in a deeply personal recollection. "Growing up in the Netherlands, I often went to a pancake house where children could have their faces painted," she explains. "I was fascinated by it; I could be someone else, a transformation. I felt beautiful and free." This initial enchantment with the act of metamorphosis, of shedding one’s everyday self for a fleeting alter ego, has become a recurring theme in her artistic practice. Her previous works have often toyed with the boundaries of perception, blending the real with the surreal, and "Making Faces" offers a more direct and poignant exploration of this fascination.

The book itself is a limited-edition testament to this exploration. It features children adorned with intricate and imaginative face paint, skillfully applied by artist Yvonne Zonneberg. These painted visages are not merely decorative; they serve as the foundation for full-blown characters, brought to life through elaborate costumes styled by Robbie Spencer, a celebrated fashion stylist. The collaboration between Jacobs, Zonneberg, and Spencer has resulted in a visual narrative that celebrates the boundless creativity and uninhibited self-expression of young individuals.

"That early attraction to ‘grime’ and face paint stayed with me," Jacobs elaborates, underscoring the lasting impact of these formative experiences. "Years later, it became the starting point for this project. Through photographing children with expressive, playful makeup, I wanted to return to that feeling of freedom when transformation was simply an escape." In a world increasingly saturated with curated digital identities and the relentless pursuit of perfection, "Making Faces" offers a refreshing counterpoint, championing the raw, unfiltered joy of imaginative play.

The Transformative Power of Childhood Play

The act of getting one’s face painted, a common ritual at birthday parties and local fairs, transcends mere adornment. For children, it represents a powerful portal to a different reality. It allows them to embody heroes, creatures, or even abstract concepts, offering a temporary reprieve from the constraints of their everyday lives. This liberation, as Jacobs highlights, is a crucial element of childhood development, fostering imagination, creativity, and a sense of agency. The painted face becomes a mask that paradoxically allows for a more authentic expression of self, unburdened by societal expectations or self-consciousness.

The book’s title, "Making Faces," is a double entendre. It refers literally to the act of applying paint to the face, but also to the broader human impulse to adopt different personas, to experiment with identity, and to communicate through visual cues. In this context, the children in Jacobs’ photographs are not simply being painted; they are actively "making faces" in the sense of constructing and performing identities. This performative aspect is amplified by the styling, which elevates the painted faces from simple adornments to integral components of fully realized characters.

A Collaborative Vision: From Concept to Creation

The creation of "Making Faces" is a testament to a cohesive artistic vision, brought to life through a series of expert collaborations. Yvonne Zonneberg’s masterful face painting provides the vibrant canvases upon which Jacobs’ lens focuses. Her ability to translate childhood fantasies into tangible artistic expressions is central to the book’s success. Zonneberg’s work often emphasizes bold colors and imaginative designs, perfectly aligning with Jacobs’ desire to capture the unbridled spirit of childhood creativity.

Robbie Spencer’s styling adds another crucial layer to the narrative. His thoughtful selection and arrangement of costumes transform the painted children into fully realized characters. Spencer, known for his innovative and often playful approach to fashion, understands how to complement and amplify the visual storytelling initiated by the face paint. His contributions ensure that each photograph is not just a portrait, but a miniature drama, inviting viewers to engage with the implied narratives of the characters.

The book’s design and editing, overseen by Christopher Simmonds Ltd, further refine this vision. Simmonds, a respected figure in the world of art and design, is known for his ability to create visually cohesive and impactful publications. His involvement ensures that the book itself is a beautifully crafted object, enhancing the viewer’s experience of Jacobs’ photographs.

Launching in Paris: A Global Celebration of Art and Childhood

The choice of Paris for the book launch, specifically at the Nuovo gallery on May 7, 2026, underscores the international appeal and artistic significance of "Making Faces." Paris, a city synonymous with art, fashion, and culture, provides an ideal backdrop for the unveiling of Jacobs’ latest work. The event, scheduled from 7 pm to 10 pm, is anticipated to draw a discerning audience of art enthusiasts, photographers, and industry professionals, eager to experience the unique blend of innocence and artistic sophistication that defines the book.

The exhibition at Nuovo will likely offer a curated selection of images from the book, allowing attendees to immerse themselves in the world Jacobs has created. This public debut serves not only as a platform to showcase the finished product but also as an opportunity to foster dialogue around the themes of childhood, imagination, and the enduring power of artistic transformation. The presence of the creative team—Jacobs, Spencer, and Zonneberg—at the launch will undoubtedly add an intimate dimension, offering insights into the collaborative process and the inspiration behind the project.

Broader Implications: Reclaiming Innocence in an Adult World

In an era where the pressures of adulthood can often overshadow the joys of uninhibited expression, "Making Faces" serves as a powerful reminder of the importance of retaining a sense of childlike wonder. The book implicitly critiques the fashion and beauty industries’ often relentless pursuit of unattainable perfection, offering instead a vision of beauty rooted in creativity, imagination, and self-acceptance.

Jacobs’ observation that "the makeup in this book is not about beauty, it is about imagination, experimentation and the innocence of becoming something else, even if only for a moment" is particularly resonant. It challenges conventional notions of beauty by foregrounding the intrinsic value of the creative process and the emotional liberation it offers. For adults, the book can act as a catalyst for introspection, encouraging them to reconnect with their own capacity for imaginative play and to perhaps embrace their own forms of "making faces" as a means of self-discovery and stress relief.

The project’s success hinges on its ability to tap into a universal human experience—the desire to transcend the ordinary and to explore different facets of oneself. By focusing on children, Jacobs has captured this impulse in its purest, most unadulterated form. The resulting images are not only visually striking but also deeply emotionally resonant, speaking to the child that exists within us all.

The ongoing dialogue between art and commerce, and the ways in which childhood experiences inform adult creative output, are central to understanding the impact of "Making Faces." As a limited-edition publication, the book also speaks to the value of tangible, artfully crafted objects in an increasingly digital world. It offers a curated experience, a physical artifact that can be cherished and revisited, unlike the ephemeral nature of digital content.

The broader implications of "Making Faces" extend to how we perceive and value childhood creativity. In many contemporary cultures, there is a tendency to compartmentalize childhood as a preparatory phase for adulthood, rather than recognizing its inherent richness and developmental significance. Jacobs’ work elevates the imaginative endeavors of children, positioning them as valid and profound forms of artistic expression in their own right.

The book’s launch, coupled with the exhibition, is poised to generate considerable discussion within the art and photography communities. Critics and audiences alike will likely engage with the complex interplay of themes: the transient nature of identity, the enduring impact of childhood memories, the collaborative spirit of artistic creation, and the inherent beauty found in uninhibited self-expression.

In conclusion, Carlijn Jacobs’ "Making Faces" is more than just a collection of photographs; it is a visual manifesto celebrating the transformative power of imagination and the profound innocence of becoming. Through her keen eye and collaborative spirit, Jacobs invites us to revisit a cherished aspect of childhood, reminding us that the ability to "make faces"—to play, to transform, and to dream—is a vital and beautiful part of the human experience, regardless of age. The project stands as a poignant testament to the enduring allure of metamorphosis and the universal yearning to explore the myriad possibilities of self.