Oh Man is a series of seventeen large-format photographs, fifteen in color and two in black and white, created in Los Angeles from 2012 to 2013. Like Lise Sarfati’s previous series The New Life (2003), She (2009), and On Hollywood (2010), Oh Man is also set in the urban landscape. In this new work, Sarfati rejects the romantic picturesque. She continues to pursue a body of work which possesses a certain interior complexity and can neither be narrowed down to a singular or global perspective nor be perceived as an object.
Sarfati quotes Baudelaire regarding the series: “in certain almost supernatural states of the soul, the profundity of life reveals itself entirely in the spectacle, however ordinary it may be, before one's eyes. It becomes its Symbol.” She invests the city in a personal and metaphoric way. She rethinks what already exists. A primal vitality, visceral, unrestrainable, arising from rootlessness―men walking and the radical indifference of their bodies―occupies the empty heart of Los Angeles. She creates an image that is always engaged in a discourse with the viewer, an image in which we can project ourselves yet also feel free. The whole series is bathed in a solar light. This luminous point of view acts as an illumination on the image as if to light our vision. Sarfati worked very precisely on the choice of this intense solar light: “I worked on the distance to create an ambiguous link in the relationship between the man and the landscape. My images are large format but through their equilibrium allow the viewer total freedom to engage with the landscape or the human figure.”
The figures in the photographs, characters like those she defined in her series The New Life, She and On Hollywood, are ghostly here. Oh Man creates an uncanny feeling: the men are both anonymous and somehow familiar. They are filmed by surveillance cameras and become a detail of the virtual landscape. What J.G. Ballard, one of Lise Sarfati's references, concerning computerized surveillance systems calls: "an Orwellian nightmare come true, but disguised as a public service."
Oh Man gives us the feeling that we could be downtown in any US megalopolis. The American urban landscape in Sarfati's photographs scrolls along, the warehouses like a long list of signs without affect: United States Post Office, NAB Sound, Toys, Clothing, Handbag, Cosmetics.
Throughout her different series, Sarfati never ceases to interrogate herself on the void and the relationship between the man and the outside world. InOh Man we are swayed by the ambiguous sensation of the landscape, between the attraction to the void and the enjoyment of the space crossed by the walking man.
Publisher : Dewi Lewis Publishing & Martin Parr Foundation
2026 | 60 pages
"The pictures from The Last Resort still hold up brilliantly. If I ever reach the Pearly Gates, those are the ones I’d probably pull out first!" – Martin Parr
Published in collaboration with the Martin Parr Foundation, this special edition accompanies a tribute exhibition at the Foundation’s Bristol gallery, honouring Martin Parr following his passing in December. Shot in and around the English seaside town of New Brighton between 1983 and 1985, The Last Resort remains a landmark in British colour documentary photography, establishing Parr as one of the nation’s most influential photographers.
This volume presents a carefully curated selection of images from the iconic series, alongside extensive archival material, including contact sheets, photographs, and ephemera drawn from Martin’s personal collection. Isaac Blease, Archivist at the Foundation, provides insight into the project’s origins, exploring the artistic and cultural influences that prompted Parr’s shift from black-and-white to colour photography, as well as the series’ initial exhibitions in Liverpool and at London’s Serpentine Gallery.
Peter Brawne, designer of the original 1986 book, reflects on the creative process behind the design and his collaboration with Martin, while Susie Parr, Martin’s wife, contributes a personal account of New Brighton and the first public presentation of the work at Liverpool’s Open Eye Gallery in 1985.
Richly illustrated and thoughtfully contextualized, this book offers both longtime admirers and new readers a unique glimpse into the development of Martin Parr’s iconic vision and the vibrant world of British seaside life that inspired it.
Nathalie Rubens: Seasons of Time marks a thoughtful and intimate debut, tracing the subtle thresholds that define a woman’s life. In this carefully composed photobook, Nathalie Rubens reflects on two parallel passages: her daughter Ruby’s emergence into young adulthood and her own transition into post-menopausal life. Through this mirrored gaze, the work becomes a meditation on continuity and change, revealing how beginnings and endings often unfold side by side.
Rubens turns the camera inward and outward with equal tenderness. Portraits of Ruby capture the fragile confidence and uncertainty of youth—moments poised between dependence and independence. In contrast, self-portraits confront the physical and emotional transformations of midlife with quiet candor. The images resist sentimentality; instead, they dwell in nuance, acknowledging vulnerability while affirming resilience. The body, in its evolving forms, becomes both subject and witness to time’s passage.
Domestic interiors, shared gestures, and fleeting glances anchor the book in lived experience. Light filters through windows, falls across skin, and settles on everyday objects, creating a rhythm that echoes the seasons invoked in the title. Rubens approaches aging not as decline, but as a shifting landscape—one marked by introspection, memory, and renewed self-awareness. The dialogue between mother and daughter unfolds without hierarchy, suggesting that each stage of life carries its own clarity and its own mystery.
Deeply personal yet widely relatable, Seasons of Time speaks to the universality of transition. It honors the complexity of female identity as something neither fixed nor singular, but constantly in motion. Through measured composition and emotional honesty, Rubens crafts a visual reflection on growth, separation, and connection. The result is a quiet affirmation that time, though relentless, can also be a source of understanding and grace, binding generations even as it gently transforms them.
The structural organization of the biosphere is the primary subject of Patterns: Art of the Natural World, a comprehensive visual catalog by Australian photographer and conservationist Jon McCormack. The work operates on the premise that life and geology are governed by a shared geometry, manifested in the recurring arrangements found within botanical specimens, animal migration routes, and topographical transformations. McCormack utilizes high-resolution digital sensors to isolate these rhythms, presenting a data-rich look at the physical world that spans from the macro-scale of elephant trails in the Kenyan savanna to the micro-textures of fossilized feathers. This survey functions as an empirical record of the planet’s innate design, emphasizing the mathematical consistency of natural forms across disparate ecosystems.
The geographical scope of the project encompasses a wide range of extreme environments, including the volcanic coastlines of Iceland and the sub-zero fjords of Antarctica. McCormack documents the silent, systemic logic of the earth, such as the intricate symmetry found within the ice caves of Svalbard and the rhythmic branching of tree rings. A significant portion of the archive focuses on the photographer’s local environment in California, where the interplay of desert erosion and coastal tides provides a laboratory for studying the evolution of landforms. By removing the distraction of color in certain instances or utilizing flat lighting, the imagery highlights the "technofossils" of the natural world—the enduring structures that define the history of a landscape and its inhabitants.
Supplementing the visual evidence are a series of short essays penned by a multidisciplinary group of scientists and explorers. These texts provide a theoretical framework for the photographs, explaining the biological and physical forces that generate specific patterns, such as the fractals in river deltas or the hexagonal tiling of basalt columns. This collaboration ensures that the book remains a rigorous journalistic inquiry into the interconnectedness of life rather than a purely aesthetic exercise. As ecosystems face unprecedented pressure from climate instability, Patterns stands as a definitive document of the planet’s foundational architecture, recording the complex symmetries that underpin global biodiversity before they are irrevocably altered by human intervention.
Albert Watson: Kaos is a masterful survey of one of photography’s most influential voices, spanning five decades of work that oscillates between intimacy and spectacle. Watson’s photographs are at once meticulously composed and viscerally immediate, capturing both the iconic and the unexpected with equal authority.
KAOS charts Watson’s journey from his breakthrough Alfred Hitchcock portrait in 1973 to the present, revealing the astonishing range of his vision. Across its pages, readers encounter a kaleidoscope of subjects: celebrities in revealing vulnerability, strangers in fleeting urban moments, wildlife in arresting stillness, and landscapes that shimmer with elemental power. Each frame is a study in light, shadow, and narrative tension, embodying Watson’s extraordinary ability to render the familiar as extraordinary.
The book moves fluidly between worlds. Supermodels and pop icons—David Bowie, Kate Moss, Jay Z, Jennifer Lopez, Mick Jagger—sit alongside anonymous figures in neon-lit cities and remote Scottish landscapes, their presence amplified by Watson’s uncanny sense of timing and composition. From sensuous nudes to stark urban street photography, his work explores surface beauty while hinting at the emotional and psychological depth beneath. Watson’s camera captures not only what is seen, but the subtle textures of human experience: desire, humor, solitude, and magnetism.
Accompanied by an essay from Philippe Garner and enriched with Watson’s own reflections, as well as previously unpublished Polaroids from his personal archive, KAOS is both an authoritative career retrospective and a deeply personal document. The photographs pulse with cinematic allure, formal precision, and the irrepressible vitality of a life spent observing the world in its most dynamic and intimate moments.
Presented in a sumptuous hardcover, with optional signed Art Editions including exclusive prints, Albert Watson: Kaos is a definitive celebration of an artist whose work continues to inspire photographers, collectors, and enthusiasts around the globe, capturing a universe simultaneously chaotic, poetic, and utterly compelling.
American photographer Carolyn Moore explores the inner landscape of emotion, memory, and personal transformation through a deeply intuitive photographic practice. Her work unfolds as a quiet dialogue between artist and viewer, where images become a space for reflection, vulnerability, and connection.
For over seven years, Of Lilies and Remains has explored the depths of the goth and darkwave underground, unfolding in Leipzig—a city long associated with a vibrant and enduring subcultural scene. Moving between iconic gatherings such as Wave-Gotik-Treffen and more intimate moments on the fringes, the project offers a rare and immersive glimpse into a world often misunderstood, yet rich in expression and community.
Created by Luca in collaboration with Laura Estelle Barmwoldt, the work embraces a cinematic and deeply personal approach. Rather than documenting from a distance, it moves within the scene itself, capturing its atmosphere, its codes, and its quiet contradictions. The title Of Lilies and Remains hints at this duality—where beauty and darkness, fragility and strength coexist.
As the book prepares for its release, we spoke with both artists about the origins of the project, their process, and what it means to document a subculture that continues to evolve while remaining true to its spirit.
American photographer Matthew Finley turns inward, using photography as a way to explore identity, memory, and emotional truth. Based in Los Angeles, his practice moves between performance, gesture, and found imagery, creating a visual language that is both intimate and deeply personal
Dutch photographer Jan Janssen explores universal human experiences through his long-term project It Matters, winner of the May 2025 Solo Exhibition. Begun in 2016, the series captures intimate moments of everyday life—love, loss, connection, and belonging—across Central and Eastern Europe.
Working in countries such as Turkey, Azerbaijan, and Armenia, Janssen spends extended time within communities, building relationships based on trust and respect. His approach allows him to move beyond observation, revealing deeply human and authentic moments.
Rooted in travel and personal discovery, It Matters reflects Janssen’s search for what connects us all in an increasingly divided world. The project is ongoing and will culminate in a photobook scheduled for publication in 2026.
German photographer Henk Kosche turns his lens toward the streets of Halle an der Saale, capturing everyday life in the late years of the former German Democratic Republic. At the time, Kosche was studying design and exploring the city with his camera, drawn to the atmosphere of its industrial landscape and the quiet rhythms of daily life.
His series Street Photography at the End of the 80s, selected as the Solo Exhibition for July 2025, revisits a body of work created just before a period of profound change. Rediscovered decades later in a small box of 35mm negatives, these photographs offer glimpses of a city and its people at a moment suspended between the familiar and the unknown.
Anastasia Samoylova is an American artist whose photographic practice is shaped by close observation and a deep attentiveness to place. Working between documentary and formal exploration, she photographs landscapes, architecture, and everyday scenes with a sensitivity to light, structure, and atmosphere. Since relocating to Miami in 2016, her work has increasingly focused on how environments—both natural and built—carry social, cultural, and emotional traces. We asked her a few questions about her practice and her way of seeing, to better understand the thoughts and experiences that shape her work—while allowing the images themselves to remain open and speak in their own time.
Marijn Fidder is a Dutch documentary photographer whose work powerfully engages with current affairs and contemporary social issues. Driven by a deep sense of social justice, she uses photography to speak on behalf of the voiceless and to advocate for the rights of those who are most vulnerable. Her images have been widely published in major international outlets including National Geographic, CNN Style, NRC Handelsblad, Volkskrant, GUP New Talent, and ZEIT Magazin.
Her long-term commitment to disability rights—particularly through years of work in Uganda—culminated in her acclaimed project Inclusive Nation, which earned her the title of Photographer of the Year 2025 at the All About Photo Awards. She is also the recipient of multiple prestigious honors, including awards from World Press Photo and the Global Peace Photo Award.
We asked her a few questions about her life and work.
Josh S. Rose is a multidisciplinary artist working across photography, film, and writing. His practice bridges visual and performing arts, with a strong focus on movement, emotion, and the expressive potential of the image.
Known for his long-standing collaborations with leading dance companies and performers, Rose brings together authenticity and precise composition—a balance he describes as “technical romanticism.” His work has been commissioned and exhibited internationally, appearing in outlets such as Vogue, at the Super Bowl, in film festivals, and most recently as a large-scale installation for Lincoln Center for the Performing Arts.
A sought-after collaborator, he has worked with major artists, cultural institutions, and brands, following a previous career as Chief Creative Officer at Interpublic Group and the founder of Humans Are Social.
We asked him a few questions about his life and work.
Photographer Maureen Ruddy Burkhart brings a quietly attentive and deeply human sensibility to her exploration of the world through images. Shaped by a life immersed in photography, film, and visual storytelling, her work is guided by intuition, observation, and an enduring interest in the emotional undercurrents of everyday life. With a practice rooted in both fine art traditions and documentary awareness, she approaches her subjects with sensitivity, allowing subtle moments to emerge naturally rather than be imposed.
Her series Til Death, selected as the Solo Exhibition for February 2025, reflects this long-standing commitment to photography as a space for reflection rather than spectacle. Drawn to moments that exist just outside the expected frame, Burkhart’s images suggest narratives without resolving them, leaving room for ambiguity, humor, and quiet connection.
We asked her a few questions about her life and work.
