Her photography encompasses the personal and the social/political, highlighting and questioning the relationship between the individual and society.
Since 1999 she has taken photographs in collaboration with people from London’s ‘queer’ and transgender communities. These photographs record a dynamic period of time in the changing social history of gender, sex and sexuality. By presenting the personal stories of a largely hidden social group, this work offers an important counteraction to mass media representations/misrepresentations of the people at the heart of these communities. Queer and transgender relationships, childbirth and families are a part of this work.
Several of Davidmann’s photographic collaborations have taken place over a number of years, resulting in extended portraits - extensive bodies of work produced both with and about the subjects of the photographs.
In some of this work, Davidmann is portrayed alongside the subjects, aligning herself with being ‘queer’, and examining her role as photographer in relation to the subject being depicted. This process was expanded upon in the work Eve, Adam and the Garden of Earthly Delights, in which Davidmann asked the people who came to her studio to be photographed if they would also like to also swap places and photograph her.
Since 2009 Davidmann’s work on ‘The Family’ has included her own family and family history.
Underpinning much of Davidmann’s photography is a strong aesthetic, which stems from her background in painting and the history of art.
Davidmann’s photographs are internationally exhibited and published, and she has received numerous awards for her work.