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Illes Toth
Illes Toth
Illes Toth

Illes Toth

Country: Denmark
Birth: 1984

My name is Illés Tóth and I was born in 1984. I began to learn photography in Denmark on Brandbjerg Folk High School in 2013. Afterwards I continued as an autodidact, I read technical books and I practiced a lot. In 2014 I attended a course of photography in Hungary and I received a degree.

I am interested in people so I love to make portraits both spontaneously and adjusted. I am in love with streets, which I try to capture from both a classic and a modern point of view. I love the black and white photos because in this way I can accentuate more the forms and the tones, thus the images become more honest. But my new project, "Freeride" opened my eyes to the world of colors too. I take colored pictures spontaneously from my bicycle (without composing or looking into the camera) then I select the ones which are interesting in terms of form and color.

I have exhibitions regularly (Balassi Institute of New Delhi, MÜSZI Budapest etc). I already won some prizes on different contests like the André Kertész Contest or the Big Spring Contest in Hungary. I am preparing a new exhibition, which will take place in FUGA Budapest Center of Architecture in November.

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Michael Ackerman
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Sherrie Nickol
Sherrie Nickol
United States
Sherrie Nickol is a fine art photographer who captures moments in time - and in life - with an almost tangible warmth and energy. She was grew up in Osceola, Arkansas and has lived her adult life in New York City. Nickol studied photography at the University of Cincinnati and later at the International Center of Photography in New York City. Her photographs are in the permanent collection of the Bibliotheque Nationale de France in Paris, and in numerous private collections in the United States. She has mounted one-person exhibitions at Temple University and The National Arts Club in New York City. In recent years, Nickol has focused especially on exploring the relationships between people and their environments. She is interested in families as they come together to share experiences and in individuals as they navigate their space alone. Her work examines the different ways to experience public and private spaces, and she brings a sincerity to her approach that breaks down barriers and allows her to connect deeply with her subjects - a connection which is evident in the photographs themselves. Les étés en bretagne Les étés en Bretagne (Summers in Brittany) is part of my larger series By the Water which is a meditatation on the carefree days of summer. When my son turned six our family began spending a part of each summer near the seaside town of Dinard, on the north coast of Brittany, and I began a project documenting the lives of French families as they vacationed on various beaches. We always rented the same home near the seaside, a short car ride from our relatives, who lived in an old stone house on a working farm. The scenes spoke of another era, with seaside picnics and striped cabanas dotting the beaches. The photographs in this series show the intimacy among families, friends, and lovers as they break from their routines and come together at the water.
Robert Rutöd
Robert Rutöd
Austria
Robert Rutöd was born 1959 in Vienna, Austria. Early pursuit of painting; from 1978 on photography. Works from these years later appeared with some of his absurd texts in the book grayscales. early b&w photographs 1978-1988. Between 1979 and 1993, Robert Rutöd wrote screenplays and directed short films. In the mid-90s, he increasingly devoted himself to the design of books and applications for digital media. In 2004 he returned to photography; since 2009, he presents these images to a wider audience. In his projects, Robert Rutöd investigates the paradox Human with its sometimes tragicomic aspects. In 2009 the photo book Less Is More resulted from that and three years later, the series Right Time Right Place has been finished. For this he received several awards including the New York Photo Award 2012, the Special Prize of the Czech Center of Photography, and most recently Artist of the Year at Dong Gang International Photo Festival in South Korea. In 2017 he completed his series Fair(y) Tales, retelling an almost ten-year expedition through the burlesque realm of trade fairs and exhibition areas. Rutöd’s photographs have been shown worldwide at numerous photography festivals and exhibitions; his work has been widely published in magazines and on blogs. Robert Rutöd lives and works in Vienna. (Source: Robert Rutöd Website) Right Time Right PlaceBeing at the right place at the right time is usually associated with happiness and success. But what happens when we are at the right place at the wrong time? Do we even know that this is the right place? And what if it turns out that it is the wrong place after all? But the right time! “Right Time Right Place” is a collection of photographs I made in the last five years on my travels through Europe. The images revolve around the question of whether it is possible for a person to be in the right place at the right time. Is the ideal state of space and time something we are awarded or is it a state we have long been living in without being aware of our good fortune? I hope I have not succeeded in answering this question. Nothing fails more pathetically than an artist’s attempt to explain the world and its relationships. Rather, my work leads to the conclusion that the world cannot be explained. Once an exhibition visitor in New York told me that, when viewing my photos, she felt that the protagonists seemed to be kind of disobedient. I really liked that interpretation. "What Robert Rutöd brings to the contemporary photographic dialogue is that intangible ability to see the world with a skewed lens - a lens that is compassionate and at the same time, unkind. It is a lens that is the stuff of operas and nightmares, comedies and slapstick. Robert finds that split second of humor or truth telling and that instant of social documentation or absurdity that makes us not only laugh at ourselves, but also laugh and feel embarrassed all at the same time. Or should I say, at The Right Time." (Aline Smithson, from the foreword to the book „Right Time Right Place“) “Right Time Right Place” was awarded the Special Prize of the Czech Center of Photography at the Photo Annual Awards 2012. A photo from the series won the New York Photo Award 2012 in the category Fine Art. Exclusive Interview with Robert Rutöd:AAP: When did you realize you wanted to be a photographer?At a certain point I can't remember. I guess, at the moment when I was pleased with my photographs.AAP: Where did you study photography?I'm self-taught...AAP: How long have you been a photographer?In total, maybe twenty years, with shorter and a long breaks and also a hiatus for more than ten years.AAP: Do you remember your first shot? What was it?Tough question, my very first photographs were still largely staged. That reminds me of the corpse of a young man, with countless clothespins on the upper body, or a self-portrait in which I am seen with a pair of shoes on my shoulders.AAP: How could you describe your style?Style is not something that you choose; it happens, to a certain extent, over time. In photography, a signature style is often more difficult to discover, sort of like in painting. A graphologist might interpret my works thusly: "Easy to read, no scrawling, he's going on rapidly and purposefully in problem-solving and asks the right questions at the right moment." I could then add: "Regarding the content, rather puzzling over long distances."AAP: What kind of gear do you use? Camera, lens, digital, film?One digital camera, one good lens.AAP: What or who inspires you?Since my work is not staged, I'm only inspired when the photographic event unfolds before my eyes, a reverse brainstorming so to speak.AAP: Do you spend a lot of time editing your images?Yes, to edit my own photographs is sometimes a lengthy process. The pictures have to go through some tests to be integrated into an ongoing project. This decision-making is sometimes damn hard to reach; it helps to let a few weeks or even months pass.AAP: What advice would you give a young photographer?Not to listen to any advice...AAP: What mistake should a young photographer avoid?None! Because there is no such thing as error, in fact, and consequently no recipe for success.AAP: Your best memory as a photographer?A fair for undertakers and the fashion show taking place there, including a coffin on the stage.AAP: Your worst souvenir as a photographer?The cluelessness of so many "experts."AAP: If you could have taken the photographs of someone else who would it be?I am satisfied so far with my work, as I want to get into the skin of others. Of course there's truly great work that I would like to see in my portfolio, "Royal Harare Golf Club" by Martin Parr for example, one or two pictures by Helen Levitt.AAP: An idea, a sentence, a project you would like to share?First the bad news: The publication date of my book "Milky Way" has been moved to next year. Now the good: I'm very happy about the positive echo that my series "Right Time Right Place" caused since its release about a year ago, including my participation in festivals in Los Angeles, Copenhagen, Delhi, or recently at the Miami Street Photography Festival. In January 2014, my project will be a solo exhibition to be seen. “eigensinnig“ (stubborn) is the name of the new gallery in Vienna, whose founder Toni Tramezzini, is aiming to show something that is rarely seen in this city: something that's not serial, not conceptual, not staged photography.
James Houston
James Houston
Australia
James Houston's background as a sculptor helped shape and influence his graphic photographic style. Australian born, Houston celebrates beauty and the human form, creating sensual iconic portraits and international campaigns for L'Oreal Paris, GAP, Donna Karan, Hugo Boss and Givenchy. New York based Houston balances his career with passion projects that make a difference in the community. Five award winning international books have been published on his work. Houston's book MOVE (PowerHouse Books), was created to benefit various HIV/AIDS charities and raised close to US$500,000 from sales and launch events. The book project, titled MOVE FOR AIDS was launched in 2006 with the support of Elton John, Hugh Jackman, Baz Luhrmann and Sarah Murdoch. While working on MOVE FOR AIDS, Houston was shocked to learn about American attitudes towards adolescent sexuality and the impact it has on U.S. teens. This discovery inspired Houston to raise over 1 million dollars to fund his first feature documentary titled, LET’S TALK ABOUT SEX (www.letstalkaboutsexthefilm.com). The Award winning film takes a revealing look at how American attitudes towards adolescent sexuality affect today’s teenagers. The film aired nationally on the TLC network in April, 2011 with the goal of helping parents and communities understand the importance of honest and open communication. For his latest photographic project, Natural Beauty, Houston turns his eye to nature for inspiration with the goal to raise awareness for the environment and funds for environmental non profit Global Green USA. In collaboration with MILK, Houston shot a series of striking portraits of some of the world’s leading models and celebrities. These captivating photographs, bring together two of Houston’s great passions – the human form and the natural world. Natural Beauty launched at MILK Gallery NYC April 2013. Houston also directed a web series on the 'making of' Natural Beauty as well as several film installations for the exhibition. Source: www.houstonphoto.com
Mitch Epstein
Mitch Epstein
United States
1952
Mitchell Epstein (born 1952) is an American fine-art photographer, among the first to make significant use of color. Epstein's books include Sunshine Hotel (2019), Rocks and Clouds (2018), New York Arbor, (2013) Berlin (2011); American Power (2009); Mitch Epstein: Work ( 2006); Recreation: American Photographs 1973-1988 (2005); and Family Business (2003), which won the 2004 Kraszna-Krausz Photography Book Award. Epstein's work has been exhibited and published extensively in the United States and Europe, and collected by numerous major museums, including New York's Museum of Modern Art and Whitney Museum of Art, The J. Paul Getty Museum in Los Angeles, the San Francisco Museum of Modern Art, and the Tate Modern in London. He has also worked as a director, cinematographer, and production designer on several films, including Dad, Salaam Bombay!, and Mississippi Masala. Epstein was born and raised in a Jewish family in Holyoke, Massachusetts. He graduated from Williston Academy, where he studied with artist and bookmaker Barry Moser. In the early 1970s he studied at Union College, New York; Rhode Island School of Design, Rhode Island, and the Cooper Union, New York, where he was a student of photographer Garry Winogrand. By the mid-1970s, Epstein had abandoned his academic studies and begun to travel, embarking on a photographic exploration of the United States. Ten of the photographs he made during this period were in a 1977 group exhibition at Light Gallery in New York. In 1978, he journeyed to India with his future wife, director Mira Nair, where he was a producer, set designer, and cinematographer on several films, including Salaam Bombay! and India Cabaret. His book In Pursuit of India is a compilation of his Indian photographs from this period. From 1992 to 1995, Epstein photographed in Vietnam, which resulted in an exhibition of this work at Wooster Gardens in New York, along with a book titled Vietnam: A Book of Changes. “I don’t know that Mitch Epstein’s glorious photographs record all of what is salient in end-of-the-twentieth century Vietnam,” wrote Susan Sontag for his book jacket, “for it’s been more than two decades since my two stays there. I can testify that his images confirm what moved and troubled me then… and offer shrewd and poignant glimpses into the costs of imposing a certain modernity. This is beautiful, authoritative work by an extremely intelligent and gifted photographer.” Reviewing an exhibition of the Vietnam pictures for Art in America, Peter Von Ziegesar writes, “In a show full of small pleasures, little prepares one for the stunning epiphany contained in Perfume Pagoda… Few photographers have managed to make an image so loaded and so beautiful at once.” Having lived and traveled beyond the United States for over a decade, Epstein began to spend more time in his adopted home of New York City. His 1999 series The City investigated the relationship between public and private life in New York. Reviewing The City exhibition at Sikkema Jenkins in New York, Vince Aletti wrote that the pictures “[are] as assured as they are ambitious.” In 1999, Epstein returned to his hometown of Holyoke, Massachusetts, to record the demise of his father's two businesses—a retail furniture store and a low-rent real estate empire. The resulting project assembled large-format photographs, video, archival materials, interviews and writing by the artist. The book Family Business, which combined all of these elements, won the 2004 Krazna-Kraus Best Photography Book of the Year award. In 2004, his work was exhibited during evening screenings at Rencontres d'Arles festival, France. From 2004 to 2009, Epstein investigated energy production and consumption in the United States, photographing in and around various energy production sites. This series, titled American Power, questions the meaning and make-up of power—electrical and political. Epstein made a monograph of the American Power pictures (2009), in which he wrote that he was often stopped by corporate security guards and once interrogated by the FBI for standing on public streets and pointing his camera at energy infrastructure. The large-scale prints from this series have been exhibited worldwide. In his Art in America review, Dave Coggins wrote that Epstein “grounds his images… in the human condition, combining empathy with sharp social observation, politics with sheer beauty.” In the New York Times, Martha Schwendener wrote: “What is interesting, beyond the haunting, complicated beauty and precision of these images, is Mr. Epstein's ability to merge what have long been considered opposing terms: photo-conceptualism and so-called documentary photography. He utilizes the supersize scale and saturated color of conceptualism, and his odd, implied narratives strongly recall the work of artists like Jeff Wall.” In 2008, Epstein won the Berlin Prize in Arts and Letters from the American Academy in Berlin. Awarded a 6-month residency, he moved to Berlin with his wife and daughter from January to June 2008. The photographs he made of significant historical sites were published in the monograph Berlin (Steidl and The American Academy in Berlin, 2011).Source: Wikipedia In 2013, the Walker Art Center in Minneapolis commissioned and premiered a theatrical rendition of Epstein’s American Power photographic series. A collaboration between Epstein and cellist Eric Friedlander, the performance combined original live music, storytelling, video, and projected photographs and archival material. Epstein and Friedlander also performed at the Wexner Center for the Arts, Ohio (2014), and the Victoria and Albert Museum, London (2015). His new series, Property Rights, was exhibited at Sikkema Jenkins & Co., New York and Galerie Thomas Zander, Cologne in the fall of 2019 and at the Amon Carter Museum of American Art in Fort Worth, Texas in 2020-2021. Recent solo exhibitions include: Multimedia Art Museum, Moscow (2020), Museum Helmond, Netherlands (2019), Andreas Murkudis, Berlin; Yancey Richardson Gallery, New York; Galerie Les Filles du Calvaire, Paris (2016-17); as well as Fondation A Stichting in Brussels (2013); Sikkema Jenkins & Co., NY (2012); Galerie Thomas Zander, Cologne (2012); Fondation Henri Cartier-Bresson, Paris (2011); Kunstmuseum Bonn (2011); and Musee de l'Elysee in Lausanne (2011). In 2020, Mitch Epstein was inducted as an Academician to the National Academy of Design. In 2011, Epstein won the Prix Pictet for American Power. Among his other awards are the Berlin Prize in Arts and Letters from the American Academy in Berlin (2008), and a Guggenheim Fellowship (2003).Source: mitchepstein.net At Cooper Union, Epstein was a student of photographer Garry Winogrand and was influenced both by Winogrand and William Eggleston's use of color. Epstein helped pioneer the redefinition of color photography as art form, as he was one of the earlier practitioners of fine-art color photography. He is well known for documenting his projects as books, which he feels allows him to form a narrative structure for his photographs. Epstein shoots film, as he believes he would not get the tonal rendering and detail for his large prints if he were to use digital.Source: International Center of Photography
Newsha Tavakolian
Newsha Tavakolian
Iran
1981
Newsha Tavakolian (born 1981) is an Iranian photojournalist and documentary photographer. She has worked for TIME Magazine, The New York Times, Le Figaro, and National Geographic. Her work focuses on women's issues and she has been a member of the Rawiya women's photography collective which she co-established in 2011. Tavakolian is a full member of Magnum Photos. Born and brought up in Tehran, at age 16, Tavakolian took a six-month photography course, after which she began working as a professional photographer in the Iranian press. She started at the women's daily newspaper Zan, and later worked for other nine reformist dailies, all of which have since been banned. She covered the July 1999 student uprising, using her Minolta with a 50mm lens, and her photographs were published in several publications. However, she was forced to go on hiatus from her photojournalist work following the "chaos" of Iran’s presidential election in 2009. During this time, she began other projects focusing on art using photography as well as social documentary. Tavakolian’s photographs became more artistic and involved social commentary. She got her international break in 2001 at age 21, when she met J.P. Pappis, founder of Polaris Images, New York at a photography festival in Perpignan, France. She began covering Iran for Polaris Images, in the same year, and started working as a freelancer for The Times in 2004. Tavakolian has worked internationally, covering wars, natural disasters and social documentary stories in Iraq, Lebanon, Syria, Saudi Arabia, Pakistan and Yemen. Her work has been published by international magazines and newspapers such as TIME Magazine, Newsweek, Stern, Le Figaro, Colors, New York Times Magazine, Der Spiegel, Le Monde, NRC Handelsblad and National Geographic. Common themes in her work are photo stories of women, friends and neighbors in Iran; the evolving role of women in overcoming gender-based restrictions; and contrasting the stereotypes of western media. Her photo projects include Mother of Martyrs (2006), Women in the Axis of Evil (2006), The Day I Became a Woman (2010) and Look (2013). Tavakolian was part of the 2006 Joop Swart Masterclass organized by World Press Photo. In 2007 she was a finalist for the Inge Morath Award. Her work has been exhibited and collected at institutions such as the British Museum, the Victoria and Albert Museum, the Los Angeles County Museum of Art, the Museum of Fine Arts, Boston and Somerset House, London. (April 2014), where she was one of eight Iranian photographers featured in the critically acclaimed Burnt Generation exhibition. In June 2015 Tavakolian became a nominee member of Magnum Photos and in 2019 a full member. She lives and works in Tehran and is married to the Dutch journalist Thomas Erdbrink. In 2019, the Iranian authorities barred her from working in the country.Source: Wikipedia Newsha Tavakolian is known for her powerful work covering wars in Iraq and social issues in her native Iran. With clarity and sensitivity, Tavakolian has photographed female guerilla fighters in Iraqi Kurdistan, Syria and Colombia, prohibited Iranian female singers and the lives of people living under sanctions. Over the years, her practice has shifted from photojournalism to photography as art. A self-taught photographer, Tavakolian began working professionally in the Iranian press at the age of 16, at women’s daily newspaper Zan. At the age of 18, she was the youngest photographer to cover the 1999 student uprising, which was a turning point for the country’s blossoming reformist movement and for Tavakolian personally as a photojournalist; a year later she joined New York-based agency Polaris Images. In 2003, she started working internationally, covering the war in Iraq. She has since covered regional conflicts, natural disasters and made social documentary stories. Her work has been published in international magazines and newspapers such as Time Magazine, Newsweek, Stern, Le Figaro, Colors, The New York Times, Der Spiegel, Le Monde, NRC Handelsblad, The New York Times Magazine and National Geographic. Commercial clients include Qatar foundation, who commissioned her to make a book about education around the world and Shiseido, who commissioned a two-year assignment looking at the meaning of beauty in Paris, France.Source: Magnum Photos
Jonas Bendiksen
Jonas Bendiksen
Norway
1977
Jonas Bendiksen is a Norwegian photojournalist based near Oslo. He has published the books Satellites (2006) and The Places We Live (2008) and received awards from World Press Photo, International Center of Photography, National Magazine Awards and Pictures of the Year International. Bendiksen became a Magnum Photos nominee in 2004 and a member in 2008. In 2010 he was its president. Bendiksen was born in Tønsberg, in Vestfold county, southern Norway, on 8 September 1977. He lived in Russia for several years. The time he spent there resulted in his book, Satellites - Photographs from the Fringes of the former Soviet Union, about separatist republics in the former USSR, published in 2006. For three years he photographed slum communities in Nairobi in Kenya, Mumbai in India, Jakarta in Indonesia, and Caracas in Venezuela, for The Places We Live, a book published in 2008, and an exhibition containing projections and voice recordings.Source: Wikipedia Thinking back on the series of events, and “ill-advised” actions he undertook as a photographer in his 20s, Jonas Bendiksen says one of the driving forces of his landmark project, Satellites, was luck. Happening to be in a specific place, at a specific time, is what led the photographer to make some of the series’ most unique and most memorable images. Yet, through all of his reflections on the project, it’s clear that a keen sense of observation, determination in the execution of an idea, and a certain streak of recklessness were all part of the mix. During the collapse of the Soviet Union, economic, political and ethnic disparities gave birth to a series of lesser-known unrecognized republics, national aspirations, and legacies. Crafted from a series of Bendiksen’s photoessays made from 1999 to 2005, Satellites documented these places in transition. Six regions undergoing great social shifts formed the six chapters of the book: the “non-existent” state of Transdniester; the beach resort of Abkhazia; the contested region of Nagorno-Karabakh; the Fergana Valley, lying across Uzbekistan, Kyrgyztan and Tajikstan; the spaceship crash zones of the Altai Territory; and the Jewish Autonomous Region of Birobidzhan. Through this collection of vignettes, little-seen in the West at the time, Bendiksen provided an insight into how daily life was lived in liminal places, documenting communities that were experienced the breakdown of Soviet communism in varying ways. Jonas Bendiksen’s sharply evocative images explore themes of community, faith and identity with unsparing honesty. He has made major bodies of work all over the world, at the same time as he always also photographs the daily rhythms of life at home. As well as many critically acclaimed long-form projects he has also produced significant work for many commercial and editorial clients. Bendiksen most recent book The Last Testament from 2017 told the story of seven men who all claimed to be the biblical Messiah returned to earth. His editorial clients include magazines such as National Geographic, Stern, TIME Magazine, Newsweek, The Sunday Times Magazine, The Guardian Weekend. On the commercial side, he has done projects for HSBC, Canon, FUJI, BCG, Red Bull and Land Rover. Bendiksen lives with his wife and three children outside Oslo, Norway.Source: Magnum Photos
Souichi Furusho
Souichi Furusho
Japan
1977
I live in Kumamoto-Japan, and work as a graphic designer in the field of advertising media. I discovered iPhoneography on Facebook and Flickr a couple of years ago, about the same time I bought my iPhone. That was followed by a variety of delightful encounters with people online. I have since participated in exhibitions in "Spain, The Netherlands, and California" along with iPhonegraphers from various countries. Although I had no prior experience whatsoever as a photographer, I was familiar with working with photographs as part of my career in graphics. My style is what I call "freedom & simple", and I approach it from many different angles. This style is the result of pursuing my own vision, which is represented by my works. iPhoneography has provided interesting opportunities for my new form of representation. The umbrella has become a symbol essential to my work. For me, the umbrella embodies the thoughts and dreams of people. This is a series of images using the umbrella as “a vehicle which carries a dream.
Alexa Moon
Alexa Moon
Russia Federation
"My name is Alexa Moon. I am a fine art photographer with Russian roots. Now I am living and creating in the small city Neumuesnter in North Germany. My photography journey began at the age of 19. That was the time when my family passed away and I realized in that moment that life is too short to do things that you don't love. So I quit my university in Russia where I was studying political science before which I didn't enjoy and came to Europe to follow this new philosophy and study art. Art helped me a lot to heal my inner wounds from the past and made me a better person. In my photography I raise topics that are important to me. I talk with the viewer about fear, loneliness, negativity, love, etc. And it helps me to improve myself. It is the best psychologist there is. I do mainly self portraits, because with me being a model and a photographer I can achieve a better result. Before I take a picture I have a concept in my head already. I 'see' the poses and expressions. So when I start modeling I know how the final picture should look like. I get inspired from the nature and the world around us. My best ideas came to me while walking in the mountains or sitting next to a beautiful lake. My work has been previously exhibited in the galleries in London, New York, Berlin, Rotterdam, Athens and Hamburg." -- Alexa Moon
Laurent Dequick
Laurent Dequick
France
Laurent Dequick is a professional architect in his forties. His photographic work has been influenced by architecture, since it is primarily focused on ideas surrounding the contemporary city and more specifically, urban sprawl. The photographer’s message is to accurately convey the impression of freneticism stemming from population density and activity in urban zones: “As you walk down the street, the lights, noises, traffic, hustle and bustle, and mix of smells are so striking that no single shot could capture all of it. So do we have to make choices? I don’t think so and I don’t want to.” To convey in images this “congestion” of urban life, Laurent Dequick does not hesitate to juxtapose, superimpose, or imbricate his shots. He fits together photographs representing architectural complexes, highways, and people, all with the same intensity. He condenses the images like the city condenses the sum of the lives of all of its inhabitants. His style is reminiscent of cubism in its rendering, which verges on abstraction in its representation of constant motion. Source: Yellow Korner The passing of time is a fascinating concept which happens all around us, at every single moment of every single day. French photographer Laurent Dequick decided to capture these fleeting seconds in a series of photographs entitled Vibrations Urbaines. Each image is a collective sequence of multiple photographs, superimposed together to visually reflect the chaos and congestion of large urban areas. The series features colorful and energetic portraits of both New York and Berlin. Viewers might feel a bit hyper as they view the still photograph which so strongly convey the motion of cars zipping past and the life of people rushing by. Dequick says his work is “primarily a reflection on the contemporary city and more specifically the proliferation of modern urban space.” Through these compositions, the artist portrays the constant urban action and excitement that are generally challenging to communicate through just one still photograph. Source: My Modern Met
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