Children play on top of an abandoned car at the “Aguerridos Liberator” shanty town in Caracas, Venezuela, Thursday, May 9, 2019. (Photo by Rodrigo Abd/AP Photo)

School children dressed in traditional attire eat breakfast before participating in a Republic day parade in Bangalore, India, Thursday, January 26, 2017. (Photo by Aijaz Rahi/AP Photo)

Children exercise before a wrestling practice session at an old Basque ball game gymnasium in downtown Havana, October 30, 2014. (Photo by Alexandre Meneghini/Reuters)

Children play football in front of an abandoned train compartment next to a railway track in Dhaka, in this May 29, 2014 file photo. (Photo by Andrew Biraj/Reuters)

A man dressed as Santa Claus arrives to distribute toys on children living in an impoverished neighbourhood in Iraq's southern city of Basra on December 26, 2020. (Photo by Hussein Faleh/AFP Photo)

Two Afghan children stand amid piles of garbage next to their home, in Kabul, Afghanistan, Monday, April 18, 2022. (Photo by Ebrahim Noroozi/AP Photo)

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.

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.