In everyday life today, the most common ‘mirror’ is no longer the full-length mirror on the wall, but the front-facing camera on a mobile phone. Selfies, video calls and the sharing of images on social media mean that people are constantly adjusting, editing and sharing their own image. Whether it be the angle, lighting, facial expression or posture, everyone has become an active participant in this digital self-presentation. The selfie is not merely a form of imagery; it represents a mode of self-presentation. Through the front-facing camera of a mobile phone, individuals can actively construct and disseminate their own image, and this form of self-expression has gradually become an integral part of modern life. In the digital age, front-facing cameras and social media platforms have amplified this mechanism, even redefining our relationship with the mirror image. The French philosopher Michel Foucault once explored the role of the mirror in his essay ‘Heterotopias’. He argued that mirrors not only present a fictional space but also reflect the real world, forming a ‘place without a place’. Mirrors allow us to see a space that does not belong to us, yet through reflection, they confirm our position. This duality of the mirror bears similarities to the selfie culture within modern technology. Selfies enable people not merely to view themselves in front of a mirror, but to continually edit and optimise their image through digital platforms. The ‘mirror stage’ proposed by the psychoanalyst Jacques Lacan also offers significant insights. He argued that infants construct their earliest sense of self through mirror identification. In Lacan’s view, the subject’s sense of self does not originate from within, but is formed through identification with an external image. Today, selfies and social media represent an extension and amplification of this mechanism. Through front-facing cameras, filters and image editing, individuals can continually approach their idealised self-image. This relationship between imagery and self-identity is reflected in contemporary art. For example, artist Yayoi Kusama’s *Infinite Mirror Room* creates an endless space of self-replication through the infinite reflections of mirrors and lighting. What the viewer sees in the mirrors is not a complete self-image, but an image that is constantly repeating and dissipating. On social media, the selfie functions as such a reflective space, within which individuals continually shape and present themselves. The connection between mirrors and the female image also has a long-standing tradition in art history. From 17th-century Dutch genre paintings to 19th-century Impressionism, mirrors have often been associated with women’s self-contemplation and self-presentation. Modern artists such as Florence Henry, however, have used mirrors to actively construct the image; the subject is no longer a passive object of reflection, but rather an active participant in the creation of the image. In the digital age, social media has made this form of self-construction even more widespread and prominent. Artist Amalia Ulman’s performance art project *Standout and Perfect*, conducted via Instagram, demonstrated how a typical ‘Instagram girl’ image is shaped through selfies, only to reveal at the end that it was all a carefully orchestrated performance. This process reflects the dual nature of imagery on social media: it serves both as a tool for personal expression and as an object of observation and consumption driven by the platform’s algorithms. Selfie culture has also prompted further reflection. Some social media users and artists have begun to question the authenticity of this image production; Australian influencer Essena O’Neill publicly criticised the ‘perfect life’ portrayed on social media, pointing out that many seemingly natural images are in fact meticulously staged. This reflection has transformed the selfie from a mere form of personal expression into a subject of public debate. Today, the front-facing camera on a mobile phone has become a substitute for the modern ‘mirror’. Unlike a traditional mirror, it not only reflects our image but also allows us to edit, filter and share these images. Amidst the feedback of likes, comments and platform recommendations, our image is constantly being shaped and adjusted. This is not merely a matter of choosing one’s appearance, but is closely linked to the evaluation mechanisms of social media platforms. Every selfie is a silent act of self-editing. Digital imaging culture means that we do not merely scrutinise ourselves in the mirror, but also constantly present and refine our image on social media platforms. In this visual game of ‘who am I?’, selfie culture is not merely a matter of personal image-making; it is also interwoven with platform algorithms, social demands and cultural norms, shaping our sense of self and our social interactions.