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Marcin Owczarek
Marcin Owczarek
Marcin Owczarek

Marcin Owczarek

Country: Poland
Birth: 1985

My art has always been focusing on condition of our globe and the condition of man. My antiutopian, critical photography is based on the anthropological research. I focus on exploring and interpreting the impact of: new technologies, bio-science, unconscious, fears, morals, social situations, behaviors, habits, rituals, biological changes, the use of animals, depression in urban envi...ronments, destruction of the soil, overpopulation, deforestation, universal famine and - over human life. As a result, I create the image of the 21 century and the image of our current society. In this way, by commenting behaviour of human individuals I want to indicate that: Man is imperfect. Man is a savage, greedy rebel of Nature, living between the insanity and lunacy, away from his true nature. Man live in the play cage because he was captured by Illusions of this world: welfare tyranny, desire of possessing material things, consumption, jealousy, hate...what all in all led him to the broken relationship with the globe and other human beings. As a result I stress the present process of dehumanization, mechanization and standardization of human race, false norms and illusional values that was given for the truth to the society by religion, governments,laws,propaganda, false mirror of the television...etc. In my opinion, nowadays it is essential to articulate this kind of behavior, because the way which the present world run, might guide the human species: firstly- into a total slavery, then to new nuclear era, and finally to the total extinction...There is number of potential scenarios, but one of them is definitely Total Extinction... I admire the way of dadaism as well as surrealism. My spirit flies with counterculture and the idea of transgression. I regard my critical collages as the prediction of human degradation, and as a consequence - 'Apocalypse'....... Many wise people said that before but I will repeat: we are responsible for this world and for other human beings, and in our hands is decision: Do we want to live in coexistence or do want to reproduce another monsters to this world who will fight against each other in another nuclear war... What are the crucial implications of this? - The world's Future. "You pays your money and you takes your choice".
Marcin Owczarek, Lier 2011

Website

marcinowczarek.wix.com

 

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More Great Photographers To Discover

Paul Hart
Paul Hart
United Kingdom
1961
Paul Hart studied at the London College of Printing (UK) and Nottingham Trent University (UK), graduating with a BA (Hons) in Photography in 1988. He works solely with the black and white analogue process using large and medium format cameras on long-term self initiated projects. Hart is most well known for his Fenland series made as a three-part series over a ten year period from 2009 - 2018. For this work he was awarded the inaugural Wolf Suschitzky Photography Prize Residency 2018 (UK/Austria) and shortlisted for the Mark Rothko Memorial Trust Award Residency (Latvia) in the same year. He has exhibited and published widely ; recent solo exhibitions include; Land Lines (Fen Ditton Gallery, Cambridge, UK. 2019), The Fenland Series (The Austrian Cultural Forum, London, UK. 2019), Poetry of Place (The Photographers' Gallery, London, UK. 2018) and group shows at The Royal Academy of Arts (London, UK. 2018) The Royal Photographic Society(Bristol, UK. 2018), The Cultural Foundation ARCADE (Dijon, France. 2017) as well as Photo London, Paris Photo and the AIPAD show (USA). He has published four monographs - RECLAIMED (2020), DRAINED (2018), FARMED (2016) and TRUNCATED (2009) with Dewi Lewis. Hart's work resides in a growing number of important collections including the V&A Museum (London), the Ivor Braka Collection (London), MoMA Library Collection (NYC) and the Martin Parr Foundation Library (Bristol, UK).
Frank Herfort
Frank Herfort
Germany
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German photographer Frank Herfort has spent over a decade photographing the insides of various public spaces throughout Russia and Eastern Europe. An architectural photographer by trade, Herfort's personal work pays homage to the old-fashioned, Stalinist decor that still consumes many Russian interiors. Following his acclaimed book: Imperial Pomp – Post Soviet High-Rise (2013), his latest book: Russian Fairytales (2020), alternates between poignant realism and absurd fancies. His photographs of the wondrously surreal post-Soviet world are mesmerizing, cool, and thought provoking but most of all, they are strikingly human. In every image the people, everyday situations, architectures, and events tell their own individual stories. Yet Herfort's work brings a modern twist, seemingly imported from the outside, that eradicates markers of time or context and persuades the viewer to create their own narrative. Frank is travelling worldwide for his global clients in the advertising, architecture, editorial and corporate industry. With the help of photography I can show things and situations that no one else would see. As long as nobody else photographs it, I just have to do it.
Thomas Jorion
Thomas Jorion
France
1976
Thomas Jorion (b. 1976, lives in Paris) photographs urban ruins and condemned buildings, spaces that no longer serve the purposes for which they were built. His work explores the built environment in a state of entropy, inviting viewers to reflect on the relationship between the material and the temporal.My work is based on our perception of time, how it passes and especially its lack of linearity. Some places seem frozen as time passes by. While our society is developing and changing very rapidly, these places are submitted to a distorted passing of time. They seem to be lifeless or in a waking state, although in reality they have their own link with time. I travel the world with one idea in mind, to find and show timeless islands. I choose to enter closed and abandoned places formerly alive, and often places of leisure or prestige to capture and share them. My fascination for the esthetic of abandoned places is the extension of an older tradition. The Romantics enjoyed strolling amidst the ruins of long lost civilizations. Centuries earlier, painters such as François de Nomé (1592 – 1623), Giovanni Battista Piranesi (1720-1778) and Hubert Robert (1733 – 1808) dedicated part of their work to these forgotten places. Somehow my photos are part of this process. The existence of timeless islands stems from a variety of contemporary phenomena. Though each of these islands has a particular origin depending on its location, all eventually evoke the disappearance of men. In Japan, the line between leisure and consumption is often blurry. Leisure activities that are deemed old-fashioned are disposed of – similar to those handkerchiefs, the “nuigishi,” given out for free on the streets by pretty young ladies. An example of this occurence (occurrence – deux R) is the three-storied, 108-lane bowling alley in a Tokyo suburb. Being out of use for some time, it soon is to be demolished. The expansion of new forms of leisure activities has also led to a booming hotel industry. Better and cheaper flight connections and the growing mobility of global citizens made the world a village, with every destination easy to reach. The province of Izu, which used to be a popular summer destination for the Japanese, is now competing with international destinations as in China or Korea. Hotel complexes or amusement parks now open for business or shut their gates according to short-lived trends in the tourism industry. In America the consequences of the economic crisis have been more disastrous than anyone could hardly have imagined. In the vast landscape of the United States, the possibility to build on new land is considered limitless. The habit of constructing new buildings instead of renovating old ones has proven rather catastrophic for the country. The dramatic consequences can be seen in cities such as Detroit MI, where the “white flag” phenomenon has made matters even worse. Other cities, such as Memphis, TN, or Bridgeport, CT have followed suit. Those cities’ entire cultural and social identities have decayed into ruin. The first places to have become useless for society were theaters, movie theaters, sport centers, schools and churches. Health care institutions, public housing, and judicial systems suffered, too… The failure of American Utopias, photographed by Joel Sternfeld in the late 70s, was already heralding deeper phenomena observed today. On the old continent, the reasons are multiple and the consequences are often the same. Struck by a major structural transformation from industrial to post-modern societies many countries had to turn away from their heavy industry. Gigantic textile factories in Northern Italy have completely disappeared, even sumptuous villas of industrialists were forsaken and left to decay. Twenty years after the reunification this development can also be seen in Germany, where factories became completely unsuitable for the global economy and whole regions became deserted due to migration. There is no denying that these abandoned places now cover all continents and in the name of the profit motive tends to amplify this phenomenon. As for my photographic practice, I wish to conserve the rawness of the places that I observe. This represents a challenge. The frame must be arranged in accordance with the layout of the space and the available light. For me, this reinforces the immaculate and timeless aspect of the place. My use of a large format camera allows me to make sharp and detailed images that contain a variety of focal points, textures, and depths. Capturing the richness of such pictures takes much time, which in turn reduces the number of photographs I can take. The choice of color film is important because it anchors the place within the present moment and allows for a faithful rendering of things seen. This eliminates the austere quality of certain spaces. For example, in the Piedmont theater, the blue, yellow, and brown are muted and soft colors, but they correspond well together to reveal a new beauty. Source: www.thomasjorion.com
Markku Lahdesmaki
Markku Lahdesmaki
United States/Finland
I was born in Finland and began taking photographs at the age of eight, after receiving a black-and-white film camera from my uncle. In my teenage years, I played guitar in a band, and ever since, music and photography have shared equal importance in my life. Over time, photography took the lead, as I realized that music didn’t just accompany my work, it inspired it. My aim is to create images that tell a story and entertain, often with a touch of peculiar humor. Most of my ideas are rooted in values I want to share: the joy of life, peace of mind, a sense of humor, and appreciation for our existence - the simple, essential things we too often take for granted.
Antoine Buttafoghi
Antoine Buttafoghi
France
1959
Antoine Buttafoghi has been teaching image (and techniques related to photography) as a trainer, consultant and professor at the university for over 20 years. He worked for a long time with the magazine "Création Numérique" as a specialist journalist and won several awards in international competitions. He was twice finalist of the prestigious Hasselblad Master Competition (20012 and 2018). He seeks to convey his sense of graphics and aesthetics which help bring out the quintessence of a subject or a nature. He pays special attention to the tensions between the different visual masses and always seems to be looking for the perfect balance. His photographs have been exhibited in Brazil, Japan, Hungary, United Kingdom, India, Italy. He is currently preparing a personal exhibition in Russia.
Jon Wollenhaupt
Jon Wollenhaupt
United States
For more than 20 years I have been dedicated to photography and fine art printmaking. During this span of time, I have I provided photography services to corporations, not-for-profit organizations, and news and media outlets. My street photography has been exhibited nationally in the United States and published internationally. I have a degree in Fine Art from Grossmont College and further studies in Studio Arts at San Francisco State University. Other current work includes a series called Awakening, which is a series of photomontage works that involve the overlaying of disparate images that reflect the workings of the unconscious mind and amorphous embedded memories. I also experiment extensively with alternative printing processes such as platinum pallidum and cyanotype. About Tales of a City: San Francisco Artist North Beach© Jon Wollenhaupt For more than 10 years I prowled the streets of San Francisco taking photos without a particular theme in mind. Or, you could say the city itself was the theme. I was more interested in trying to reveal something about the fabric of the city than looking only at specific threads. I hope these photos display a faithful chronicle of everyday life, in which there is glimmer of what John Szarkowski calls “ineffable dramatic possibilities.” Can it be that the capture of those small daily dramas that take place on busy streets, in alleys, and between tall buildings, can tell the story of a city as complex and unique as San Francisco? Perhaps. The story of a great city is always unfolding, and each day a page of a new chapter begins."
Anna Laza
Anna Laza
Romania
"I started to be in photography about 15 years ago. At that time I used to model and participate in shootings. But quite quickly I got bored with posing and was becoming more curious to stand on the other side of the camera. So slowly, but certainly I started my own way in the big universe of photography. I have principles in my shootings and always keep in focus my own style. It’s very important for an artist to both keep his/her unique style and progress in it at the same time. When I shoot women I avoid sexualizing them and even photographing naked bodies there’ll be no sexual vision in the image, but sensual and sophisticated." Anna Laza is an influential visual artist working in Art and Fashion photography. Her projects are focused on finding new innovative styles both shooting and post-processing. Her work has been rewarded and been exhibited internationally, she has won in a number of famous photo contests, including LensCulture, MonoVisions and Minimalist Awards. She is often published in photography magazines and regularly appears on prestigious jury lists for photographic events. Besides her own photography, she is also a creator of the magazine FotoSlovo, which highlights every year new emerging talents in photography from Russia & CIS counties. Metaphysical Body Landscapes "My childhood I've spent at my grandmother's house in Romania, near the Carpathian Mountains. Seeing human's strong bond with the earth, observing nature, landscapes around influenced my understanding of earth beauty and men's connexion with it. All being is something whole, indivisible. Earth, sky, plants, fruits, mountains, rivers, men, women, day, night- all merged together and flow into each other. This process is infinite and harmonious. Men came from the earth, lives on earth and will return to earth. And landscapes of the earth are seen in body curves. Growing up I moved to live in big cities, my grandmother passed away and I felt the loss of spiritual connexion with nature. To reconnect, I start to search the Landscapes in body in my photography."
Sebastián Machado
Sebastián Machado
Mexico
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Sebastián Machado Batanero (Mexico City, 1989) is a visual artist, photographer, and educator. He holds a BA in Art Studies and Art History from the Universidad del Claustro de Sor Juana and studied photography at the Escuela Activa de Fotografía (EAF). He also trained at the Escola Superior de Cinema i Audiovisuals de Catalunya (ESCAC) and participated in workshops led by Moisés Saman and Alessandra Sanguinetti organized by Magnum Photos in Germany and the UK. His work explores memory, the archive, and everyday life, with a focus on photography as a form of critical and poetic intervention. He took part in the exhibition Understanding Risk (World Bank, Palacio de Minería) and in various group shows across Mexican galleries. In 2018, he published his first photobook Volver (Editorial Opción, ITAM). His projects have addressed themes such as childhood autism, the aftermath of the September 2017 earthquake in Mexico, climate change in Tabasco, and collaborations with artists like Bomba Estéreo and Silvana Estrada. He currently teaches art history and photography at EAF and at the Universidad del Claustro de Sor Juana. From 2023 to 2024, he was part of the curatorial committee at Foro R-38, where he coordinated research and exhibition projects. His current work explores autoethnographic narratives rooted in the domestic sphere, investigating the links between image, matter, archive, and fiction. AAP Magazine: AAP Magazine 49: B&W
Deborah Turbeville
Deborah Turbeville
United States
1938 | † 2013
Deborah Turbeville was born in 1938, in Boston. Summers were spent in Ogunquit, Maine. 'Beautiful Place by the Sea' is the oceanside township's motto. 'Very bleak, very stark, very beautiful,' was Turbeville's description of it. Life was comfortable - she went to private school. Yet her mother described her as a 'shy and scary child'. Which is as it should be. The uneasy shuffle of ambiguity is the essence of Turbeville and her work - which itself shuffles between fashion magazine and art gallery, never fully at peace in either place. Like her near contemporaries, Helmut Newton and Guy Bourdin, she rethought and recast fashion photography in the 1970s. Perhaps even more than those two louche Europeans, though, she injected narrative and mystery into what is, after all, an unabashedly commercial process. Her pictures are as much riddles as they are images. Consciously damaged goods, they are blurry, grainy, tormented into painterly colours, scratched, marked, sellotaped - post-production work often done with her long-term assistant and collaborator Sharon Schuster. 'I destroy the image after I've made it,' said Turbeville. 'Obliterate it a little so you never have it completely there.' It's a quite un-American world, a view through the rear window, fascinated by the beaten, worn and forgotten. She has photographed her own house in Mexico as if she were a time-travelling visitor in her own intimate landscape, slightly drunk in exploration and contemplation of the rooms and their objects - tin retablos, wooden boxes, a painted carving of the Virgin Saint Maria Candelaria. She has photographed old Newport and the lost St Petersburg. One of her books was called 'Les Amoureuses du Temps Passe' - (female) lovers of times past. 'The idea of disintegration is really the core of my work.' When Jackie Onassis commissioned her to photograph the unseen Versailles, the late president's wife urged the photographer to 'evoke the feeling that there were ghosts and memories.' Turbeville began by researching the palace's 'mistresses and discarded mistresses', then photographed not just the palace's grand chambers and vistas but its store rooms and attics. She came to photography late. Arriving in New York at 19, with dreams of a stage career, she worked as a model and assistant to Claire McCardell - the fashion designer who brought wool jersey and denim to the catwalk. She joined Harper's Bazaar in 1963, working with its fashion editor, Marvin Israel, and his crew of photographers which included Diane Arbus, Richard Avedon and Hiro. She took her first pictures in Yugoslavia in 1966. They were blurry. She showed them to Avedon. He liked them, blurs and all. So he taught her technique. In 1972, she became a photographer. Like other adventurous photographers of the era, she worked for Nova magazine. She took some pictures for Vogue of girls in bikinis at a cement works. 'The most revolutionary pictures of the time,' said Conde Nast's editorial director Alexander Liberman. The work that made her name was the 'bathhouse' series she took for American Vogue in 1975 - fashion photographs of barely dressed women, wet and languid, almost kitsch. The oddest thing, though, is the sense that the women are prisoners - of what is not clear, of course. It's been said they look like they're in gas chambers. 'I go into a women's private world, where you never go,' Turbeville said. 'It's a moment frozen in time. I like to hear a clock ticking in my pictures.' If one of photography's most honourable impulses is to subvert - or flee from - the medium's inherent voyeurism, Turbeville collapses this paradox by succumbing to it. Victorian academic paintings presented unclothed women in bathing pools as if the painter were not there - the illusion of pornography. Turbeville's naked, wet women are under no such illusion. They know the photographer is there. They acknowledge her presence. They maybe even watch us, the viewer. The bathouse pictures were collected, with others, in her 1978 book 'Wallflower' - arrestingly and sympathetically designed by her mentor, Israel. In it are all the essentials of her work: a feeling that you are somewhere in the past; a languid, barely sexual sexuality; white, willowy women; distressed prints; a luminous quality; a sense of a narrative interrupted. Yet she's a jobbing photographer, too. She's worked for American Vogue and its British, French, Italian, and Russian counterparts. She's done ads for Ungaro, editorial photographic essays for Harper's Bazaar and portraits of Julia Roberts for the New York Times Magazine. She wears black, mostly. She has reddish hair. She has homes in Mexico, New York and Russia. She teaches in Russia. She's been married at least once. When she lived in Paris, at the turn of the 1980s, she'd rummage through the streets every evening, between 6 and 8 o'clock. 'I'm a voyeur,' she said. (Source: Pete Silverton - www.professionalphotographer.co.uk)
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Latest Interviews

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Interview
Exclusive Interview with Carolyn Moore
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.
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Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
Interview
Publication
Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
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.
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Exclusive Interview with Matthew Finley
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Exclusive Interview with Jan Janssen
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Exclusive Interview with Jan Janssen
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.
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Exclusive Interview with Henk Kosche
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Exclusive Interview with Marijn Fidder
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.
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Exclusive Interview with Josh S. Rose
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Exclusive Interview with Josh S. Rose
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.
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Interview with Maureen Ruddy Burkhart
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Interview with Maureen Ruddy Burkhart
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.
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