Through layered and repeated figuration, scarred bodies, decaying matter, and lifeless animals contrast with moments of birth and life. Presenting a body of work that carries a nuanced touch of tenderness and vulnerability, each image is intentionally presented outside of 'time’. Speaking concurrently of personal stories like the artists’ own journey through childbirth and the passage of a close friend into middle age, Unbecoming dives into narratives that resound universally, underpinned by the rhythmic ebbs and flows of the natural world. 

Mahr's creative process embraces a certain formalism, frequently employing traditional techniques like Chiaroscuro, working with largely monochromatic tones, and embracing a still-life compositional framing. This deliberate departure from the throwaway constructions often found in post-disposable/portable camera lens-based work aims to evoke a sense of near-religious sacredness.

While the exhibition prominently features lens-based work, Mahr refrains from identifying herself as a photographer with the distinction arising from her deliberate fusion of techniques that draw from painting traditions. Contemporary printing methods are skillfully employed to evoke brushstrokes, while a focus on achieving rich blacks underscores her commitment to a unique aesthetic. This deliberate approach serves as a testament to Mahr’s artistic identity, challenging conventional labels and inviting viewers into a realm where photography transcends traditional boundaries. 

Unbecoming also marks a return to Mahr’s roots. Berlin holds both personal and creative significance for the artist, having spent close to ten years living and raising her young family there. Mahr views the city as more than a location, rather a liberating space and a reassuring step back into her Middle European heritage. Born in Hungary, Mahr’s personal history of geographic displacement infuses her creative process, resulting in compositions that probe memory, identity, and belonging.