From 2004 until 2017, Magdalena Wosinska documented her relationships compulsively. Keeping her camera within arm’s reach at all times, the Poland-born, Los Angeles-based photographer captured the elation and the torment that necessarily accompany human connection, with the same tender and electric energy that powers her professional practice. The raw result is Leftovers of Love, an uncompromising portrait of the artist’s relationships throughout this formative 13-year period. In these autobiographical snapshots, all formal artifice is stripped away; instead, the images fizz with a kind of electricity, each subject playing their part in Wosinska’s record of a shared moment. By turns enraptured, intimate, anguished and resolute, Leftovers of Love follows its protagonist through transatlantic music tours and road trips in the Redwoods, on euphoric New Year’s Eve nights and into excruciating heartbreak. Its trajectory is at once oddly familiar and deeply personal. The book’s narrative builds through scraps of text that accompany select images, from timeworn keepsakes to improvised captions. Printed minutely and in an unyielding scrawl, these fragments coax the reader in closer, until following the autobiographical arc of the story at hand becomes as much a physical exertion as a psychological one. There is one recurring thread woven through the fabric of this series, the artist explains; he is a figure the reader comes to recognise for the fragile paper on which images pertaining to him are printed — and who all other encounters are constructed around. This is a true story, Wosinska tells us, in which there are, crucially, neither victims nor victors. Moreover, it is a portrait of human relationships in all their mutual manipulation, shot through with lust, ecstasy, betrayal, love, hope and suffering. Anld, above all else, it is her own story to tell.