"Is the portrait of a teenaged mother different from that of another adolescent? Not at first sight. Unless it has something to do with the penetrating gazes that dominate this type of portrait to such a degree. It is one of the striking characteristics of Hellen van Meene's new work. Usually, though, she allows her models to look down, look away or close their eyes. In recent years there has been eye contact with the photographer. As long as it is there, it remains intense. Even the viewer's gaze is directed by it.

Other differences can be discerned as well. In the slightly tense posture of the young mothers, for example, compared to the more relaxed poses of their contemporaries. Much room for doubt as to the meaning of her photographs, how-ever, has not been granted by Hellen van Meene. Teenaged mothers are shown with baby, as a literally twofold union. The way in which each holds or clutches her newborn child, sometimes wrapped in the same piece of clothing, clearly underscores their oneness. When the children are a bit older, these become playful double portraits. In the new work, a number of these can also be found. Accompanying them are double portraits of young lovers, friends, girlfriends, sisters and brothers. That, too, is new. The question, however, as to whether differences exist between the portrait of a teenaged girl and that of a teenaged mother can, as far as the photographs of Hellen van Meene are concerned, be answered in the affirmative. On the few occasions that mother and child are not shown together, the differences must be sought in small, gradual shifts of accent, a hostile look, a tense hand, more loosely fitting clothing and the like. It is these gradations of color, tone and nuance within her rich and broad range of details that draw together Hellen van Meene's portraits and make them exciting to observe.

The photographs that make up her new work were taken over a period of four years, particularly on travels to England, Latvia, Russia and Japan. Along the way, Van Meene's way of working seems to gain spontaneity. More importantly, though, she manages, with flawless intuition, to find her models in many more places than in the vicinity of her home in North Holland. Not only does that yield a greater variety of portrait subjects; the new work also shows that Van Meene can now photograph as easily outdoors as indoors. The result is surprisingly lively. One can only conclude that her work has acquired strength, partly because she has explored and expanded her subject in a natural way. Less staging is done, the props are gone, and the situations in which the work is carried out are more diverse than before. The new work therefore seems to be a beautiful and convincing sequel to the earlier success with which Van Meene's portraits of teenagers were received.

Why, then, do we have that slight sense of uneasiness on seeing an ostensibly unshocking portrait of an adolescent? Hellen van Meene, the photographer and author of these portraits, does not appear to have been responsible for this. At least not directly. She and her models share a distinct preference for everything that gives expression to the body." 

(Hellen van Meen, abstract from the book)