Palestinian children warm themselves by a fire on a stormy day at Shati (beach) refugee camp in Gaza City January 18, 2016. (Photo by Mohammed Salem/Reuters)

Refugee children play with a stuffed toy at a muddy makeshift camp at the Greek-Macedonian border, near the village of Idomeni, Greece March 15, 2016. (Photo by Alexandros Avramidis/Reuters)

Children sit on a bed in a flooded house following heavy rain in a village in Yemen's Red Sea province of Houdieda April 15, 2016. (Photo by Abduljabbar Zeyad/Reuters)

Children wave Vietnamese and American flags while waiting for arrival of U.S. President Barack Obama (not pictured) before a welcoming ceremony at the Presidential Palace in Hanoi, Vietnam May 23, 2016. (Photo by Reuters/Kham)

A man pushes a tub carrying children as he gets them back home after school at a flooded area in Duchang, Jiangxi Province, China, June 27, 2016. (Photo by Reuters/Stringer)

Yawalapiti children play during the preparations for the celebration of “quarup”, a ritual held to honor in death a person of great importance to them, in the Xingu National Park, Mato Grosso State, May 7, 2012. (Photo by Ueslei Marcelino/Reuters)

Australian artist Polixeni Papapetrou trends the line between fantasy/theatre, mythology/reality, archetype/play, male/female, child/adult and animal/human. As with all her work the series The Dreamkeepers tells a story that includes her autobiographical relationship with her children, but it also says a lot more about the condition of childhood - its place in our culture and how we react to images of children in photography.

Erik Ravelo goes straight for the jugular in his series, Los Intocables (The Untouchables). Depicting children in one the most vulnerable poses of all time, Ravelo attempts to speak for those who cannot properly articulate their pain. The sick, twisted games that adults play can come at a cost to future generations and Ravelo’s series gives a voice to those children who get caught in the crossfire.