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Win a Solo Exhibition in April 2026 + An Exclusive Interview!
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Hyun De Grande
Hyun De Grande
Hyun De Grande

Hyun De Grande

Country: South Korea/Belgium
Birth: 1987

My name is Hyun De Grande. I was born in Seoul, South Korea in 1987 and I was adopted to Belgium when I was around 4 months old. I grew up in a small town called Oostkamp together with my parents and my brother, who is also adopted.

At the age of 15, I started studying film and photography at the Art Academy in Bruges, which was my introduction to both artforms. After two more years of studying film at the School of Arts in Ghent, I moved to Brussels in 2008 to specialize in cinematography at the RITCS. I'm still residing in Brussels, and I currently work as a cinematographer in the narrative and commercial fields.

Street photography is a passion to which I love devoting my energy to in between jobs. It's obvious that my cinematography background has heavily influenced my photography style, yet I try to approach things in a different way when I'm taking pictures compared to shooting a movie. It's mainly much more personal because I don't share the creative process with other people, which allows me to explore themes that are closer to myself as a person.

Statement
As a photographer I'm very fascinated by the feelings of loneliness, isolation and/or alienation because they strongly resonate with me personally. Perhaps it can be back-tracked to my adoption, which has created a sense of never really feeling at home anywhere I go, and therefore these emotions have always been a big part of my life.

Esthetically, I'm mainly looking for clear shapes and lines as an arena for my subjects, both coming from light and/or architecture. I feel that the solidity of these shapes enhances the fragility of the people portrayed within these lines. Trapped or lost in a cold and unforgiving environment.

I also love working in a wider frame as it allows me to use that extra horizontal space to evoke emptiness. I find it interesting to utilize the surroundings of my characters to create emotional context, even when these surroundings are blank or abstract. I use a 2:1 ratio on all of my photographs, which stems from my cinematography background.

Websites

hyundegrande.com

@hyundegrande

 

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Vincenzo Barone
Vincenzo Barone
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I was born in Italy and I lived there for a while then I ended up in France by chance. I was a musician, a writer and a philosopher. Currently I am a photographer. My photographic research finds its focal point in the street, among people, in the quite chaos of everyday life and the surprise of the daily routine. Anything ambiguous, hidden in the sunlight and in the shadows, can fascinate me. The human presence is essential in my photos, what cannot be seen and especially what is nebulously perceives represents the true essence of my research. Reinventing the signifier of everyday life, creating a new reading code, like in a dream where what seems is not. I shoot almost exclusively digitally, going from colour to black and white depending on the current project or, quite simply, depending on what I want to transmit. My photography is constantly evolving: a process that requires courage and chaotic discipline.
Vivian Wan
Vivian Wan
United States
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Vivian Wan is a photographer whose work bridges conceptual, fine art portraiture, and narrative photography. She delves into storytelling and environmental portraiture, using both realistic and fictional perspectives, and frequently incorporates everyday scenes that evoke an uncanny atmosphere. Her work examines the complex interplay between fantasy, narrative, and photography, focusing on the evolution of staged imagery. Inspired by Victorian tableaux vivants—elaborate, posed scenes crafted to resemble paintings—Wan revitalizes this historic style, presenting it through a modern lens. Her photographs go beyond straightforward documentation, merging elements of the real and the surreal to create an engaging narrative space where imagination and lived experience intersect.
Rosita Delfino
Rosita Delfino
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I started getting interested in photography in 2009 and since then I have been emotionally struck by the picture's power of communication. Photography is a dimension where pictures enhance the words and become means of expression of our inner world, through the filter of our eyes they have the power of changing the reality. It is a never ending dialogue between appearing and being, a wonderful journey in the female dimension, where the body is no more bound to space and time but opens to a dreamlike atmosphere. I often think of a sentence by Francesca Woodman, 'you'll get excited when looking at an image but you'll never know what's behind it'.Rosita DelfinoAll about Rosita Delfino:AAP: When did you realize you wanted to be a photographer?In 2009 I realized that the camera has a big power for communicating the feelings of my soul. So I decided to start taking pictures. When I take picture I feel free.AAP: What or who inspires you?I bought a lot of photographic books and I was amazed by Francesca Woodman, Christy Lee Rogers, Alexei Vassiliev's pictures and so on. They express the concepts of their soul through a non-objective representation of the reality, where the time is hanging and feelings, fears, desires are mixed. I find myself through the style of these photographers.AAP: Do you spend a lot of time editing your images?I usually work with a photographic project. Using digital editing I feel in front of a painting and I create the pictures depending on my state of soul and it takes a lot of time.AAP: An idea, a sentence, a project you would like to share?I imagine myself in this Francesca Woodman's sentence: "Ti ecciterai osservando un'immagine ma non saprai mai cosa vi è dietro". ("You will be excited seeing a picture, but you'll never know what is behind that.")
Kimiko Yoshida
Kimiko Yoshida
Japan
1963
Kimiko Yoshida is a Japanese visual artist who was born in 1963 and lives in Europe since 1995. Subtle, fictional, paradoxical, Kimiko Yoshida’s Bachelor Brides form an ensemble of quasi-monochromatic self-portraits, fragments of an intimate web, elaborating on a singular story: the feminine condition in Japan. Her images are large format, luminous squares, underlining her fantasy-bio epic. While still very young, Kimiko Yoshida was struck by the story of her own mother, who met her husband for the first time on her wedding day. Kimiko Yoshida’s own story is compelling. Born in Japan, she left to France in 1995, where she adopted a new language, a new way to live, to create. She studied photography at the Ecole Nationale at Arles, later she went to Le Fresnoy Studio at Tourcoing, France. Kimiko Yoshida has been concentrating on this series of intangible self-portraits which can be read as a quest for the hybridization of cultures, for the transformation of the being, and perhaps even as a deletion of identities. The metamorphosis of her own identity into a multiplicity of identifications expresses the fading of uniqueness, the "deconstruction" of the self. Source: Gallery 51 Kimiko Yoshida was born in Tokyo, Japan in 1963. Feeling oppressed as a woman, she left Japan in 1995 and moved to France to pursue her artistic ambitions. She studied at the École Nationale Supérieure de la Photographie in Arles and the Studio National des Arts Contemporains in "Le Fresnoy". Since gaining her artistic freedom, Yoshida has been working prolifically. Her work revolves around feminine identity and the transformative power of art. In her most recent project, Painting. Self-Portrait she wears elaborate costumes and paints her skin in a monochrome color that matches the background. The monochromatic elements accentuate the fashion of Yoshida’s costumes. For the artist, the costume is "the field of diversion, detournement, and deflection." The visual elements, coupled with the titles’ reference to artists and paintings of the past (Ophelia by Delacroix, The Torero Bride with a Black Suit of Lights, Remembering Picasso), are meant to come together to challenge conventional notions and traditions of art and cultural identity. "I want an image that tries to rethink its own meanings and references." For her self-portraits, Yoshida received the International Photography Award in 2005. She continues to exhibit worldwide, and her work is found in the permanent collections of the Museum of Fine Arts of Houston, the Israel Museum, the Kawasaki City Museum, and the Maison Européenne de la Photographie in Paris. Source: Holden Luntz Photo Gallery
Steve Schapiro
Steve Schapiro
United States
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Steve Schapiro discovered photography at the age of nine at summer camp. Excited by the camera's potential, Schapiro spent the next decades prowling the streets of his native New York City trying to emulate the work of French photographer Henri Cartier Bresson, whom he greatly admired. His first formal education in photography came when he studied under the photojournalist W. Eugene Smith. Smith's influence on Schapiro was far-reaching. He taught him the technical skills he need to succeed as a photographer, but also informed his personal outlook and world-view. Schapiro's lifelong interest in social documentary, and his consistently empathetic portrayal of his subjects, is an outgrowth of his days spent with Smith and the development of a concerned humanistic approach to photography. Beginning in 1961, Schapiro worked as a freelance photojournalist. His photographs have appeared internationally in the pages and on the covers of magazines, including Life, Look, Time, Newsweek, Rolling Stone, Vanity Fair, Sports Illustrated, People and Paris Match. During the decade of the 1960s in America, called the "golden age in photojournalism," Schapiro produced photo-essays on subjects as varied as narcotics addition, Easter in Harlem, the Apollo Theater, Haight-Ashbury, political protest, the presidential campaign of Robert Kennedy, poodles and presidents. A particularly poignant story about the lives of migrant workers in Arkansas, produced in 1961 for Jubilee and picked up by the New York Times Magazine, both informed readers about the migrant workers' difficult living conditions and brought about tangible change-the installation of electricity in their camps. An activist as well as documentarian, Schapiro covered many stories related the Civil Rights movement, including the March on Washington for Jobs and Freedom, the push for voter registration and the Selma to Montgomery march. Called by Life to Memphis after Martin Luther King Jr.'s assassination, Schapiro produced some of the most iconic images of that tragic event. In the 1970s, as picture magazines like Life folded, Schapiro shifted attention to film. With major motion picture companies as his clients, Schapiro produced advertising materials, publicity stills and posters for films as varied as the Godfather, the Way We Were, Taxi Driver, Midnight Cowboy, Rambo, Risky Business and Billy Madison. He also collaborated on projects with musicians, such as Barbra Streisand and David Bowie, for record covers and related art. Schapiro's photographs have been widely reproduced in magazines and books related to American cultural history from the 1960s forward, civil rights, and motion picture film. Monographs of Schapiro's work include American Edge (2000); a book about the spirit of the turbulent decade of the 1960s in America, and Schapiro's Heroes (2007), which offers long intimate profiles of ten iconic figures: Muhammad Ali, Andy Warhol, Martin Luther King Jr., Robert Kennedy, Ray Charles, Jacqueline Kennedy Onassis, James Baldwin, Samuel Beckett, Barbra Streisand and Truman Capote. Schapiro's Heroes was the winner of an Art Directors Club Cube Award. Taschen released The Godfather Family Album: Photographs by Steve Schapiro in 2008, followed by Taxi Driver (2010), both initially in signed limited editions. This was followed by Then And Now (2012), Bliss, about the changing Hippie Generation (2015), BOWIE (2016), Mercicordia (20126) an amazing facility for people with developmental problems, and in 2017 books about Muhammad Ali and Taschen's The Fire Next Time with James Baldwin's text and Schapiro's Civil Rights photos from 1963 to 1968. Since the Metropolitan Museum of Art's seminal 1969 exhibition, Harlem on my Mind, which included a number of his images, Schapiro's photographs have appeared in museum and gallery exhibitions world-wide. The High Museum of Art's Road to Freedom, which traveled widely in the United States, includes numerous of his photographs from the civil rights movement and Martin Luther King Jr. Recent one-man shows have been mounted in Los Angeles, London, Santa Fe, Amsterdam, Paris. And Berlin. Steve has had large museum retrospective exhibitions in the United States, Spain, Russia, and Germany. Schapiro continues to work in a documentary vein. His recent series' of photographs have been about India, Music Festivals, and Black Lives Matter. Schapiro's work is represented in many private and public collections, including the Smithsonian Museum, the High Museum of Art, the New York Metropolitan Museum and the Getty Museum. He has just Received the James Joyce Award and fellowship to University College in Dublin/ Previous recipients included Bishop Tutu, Jesse Jackson and J.K. Rowling Discover Steve Schapiro's Interview
Eugenio Recuenco
Eugenio Recuenco
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Eugenio Recuenco was born in Madrid in May of 1968, in the middle of student protests that had spread out from Paris. As he himself would say: " I heard all that to-do, and was in a rush to be born and see what was going on."He studied fine art, graduating with a degree in painting from the Universidad Complutense de Madrid. Without a space in which to create his large-scale paintings, he began to collaborate with fashion magazines - first in Spain and later in Paris, where he habitually spent long periods - while waiting to be able to devote himself to painting. Vogue Espana, Madame Figaro, Wad, Vogue UK, Spoon, Planet, Vanity Fair, Stern, Kult, Twill, GQ, and Zink are some of the magazines he's worked with.It was in Paris that he produced his first advertising piece for Boucheron. 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From that moment, he continued to create short films and video clips, such as Rammstein's Mein Herz Brennt, for example. He is now preparing his first full length film.Although his photographs had already been shown at the Reina Sofia museum in Madrid, the BAC (Barcelona Arte Contemporáneo), the Naardeen Photo Festival, the FEM (Festival Edición Madrid), Les Rencontres d'Arles, PhotoEspana, Art Toronto, and the Spanish National Library, it was once again in Paris where he would have his first solo exhibit, "Dream and Storm" at the Bertin-Toublanc Gallery.In 2004 he was given the ABC National Photography Award, in 2009 he won Gold and Bronze Awards at the Sol Festival, and in 2006 and 2013 his photographs won Gold Lions at the Cannes Lions Festival.In 2013 teNeues approached him to create his first solo book, Revue, whose launch will coincide with an exhibit at Camera Work Contemporary in Berlin.Eugenio Recuendo currently lives behind a camera.All about Eugenio Recuendo:AAP:Do you have a mentor or role model?To be honest I only have my intuition.AAP: How long have you been a photographer?I think since I was born. Another question is from what moment afterwards and I began taking pictures. Light and its effects have a great influence on me; I was always conscious of what was happening around me. I think that’s the first need a photographer must have.AAP: Do you remember your first shot? What was it?They were some household pictures that I took after my dad finally let me borrow his camera. It was during a school-trip. Those pictures were horrible; and, however they were really symbolic and full of emotions. That’s what magic is all about.AAP: What or who inspires you?Life inspires me.AAP: How would you describe your style?I have no clue. I don’t frown upon a specific style; I just go along doing what I feel is best. I don’t tell myself that things have to be a certain determined way. I start building and end up doing it in a certain way. But it’s all about circumstances, your vibes and needs and priorities when it comes down to transmitting them that end up paving a style for each series.AAP: Do you have favorite pictures or series?I’ve hated all of them at one point or another for not being loyal to what I expected them to be like; and all of them are favorites because there is something from me in all.AAP: What kind of gear do you use? Camera, lens, digital, film?It depends on each cases. Now more digital, Canon and with Hasselblad; always old ones and which treat the image with honesty. That is why I like old ones, ones that have a less forced definition.AAP: Do you spend a lot of time editing your images? For what purpose?It depends. It's all in the take. After that it's all a question of taking out defects and over all working on the texture and what it looks like in the end.AAP: Favorite(s) photographer(s)?A lot of them. For example I love Paolo Ventura.AAP: What advice would you give a young photographer?Shoot and shoot. Above all to shoot what you feel; not what is in fashion.AAP: What mistake should a young photographer avoid?Trying to go too fast and do what is currently succesful. Because when doing that, success will be in another type of photography.AAP: An idea, a sentence, a project you would like to share?(W)Hole time. A project I would like to take to movie-making. AAP: What are your projects?A book with 365 pictures, it is a poetry about the world we live in and the full-length film that I mentioned before.AAP: Your best memory as a photographer?When I stumble upon a photograph I didn't mean to do.AAP: Your worst souvenir as a photographer?Deal with creative managers who don't have a clear concept of their idea. It happens quite often.AAP:If you were someone else who would it be?I don't know. 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Annie Leibovitz
Annie Leibovitz
United States
1949
Annie Leibovitz is an American portrait photographer best known for her engaging portraits, particularly of celebrities, which often feature subjects in intimate settings and poses. Leibovitz's Polaroid photo of John Lennon and Yoko Ono, taken five hours before Lennon's murder, is considered one of Rolling Stone magazine's most famous cover photographs. The Library of Congress declared her a Living Legend, and she is the first woman to have a feature exhibition at Washington's National Portrait Gallery.Source: Wikipedia Annie Leibovitz was born on October 2, 1949, in Waterbury, Connecticut. While studying painting at the San Francisco Art Institute, she took night classes in photography, and in 1970, she began doing work for Rolling Stone magazine. She became Rolling Stone’s chief photographer in 1973. By the time she left the magazine, 10 years later, she had shot 142 covers. In 1983, she joined the staff at Vanity Fair, and in 1998, she also began working for Vogue. In addition to her magazine editorial work, Leibovitz has created influential advertising campaigns for American Express and the Gap and has contributed frequently to the Got Milk? campaign. She has worked with many arts organizations, including American Ballet Theatre, the Brooklyn Academy of Music, and the Mark Morris Dance Group, and with Mikhail Baryshnikov. Her books include Annie Leibovitz: Photographs (1983), Photographs: Annie Leibovitz 1970–1990 (1991), Olympic Portraits (1996), Women (1999), American Music (2003), A Photographer’s Life: 1990–2005 (2006), Annie Leibovitz at Work (2008), Pilgrimage (2011), Annie Leibovitz: Portraits 2005-2016 (2017), The Early Years, 1970–1983 (2018), and Wonderland (2021). Exhibitions of her images have appeared at museums and galleries all over the world, including the National Portrait Gallery and the Corcoran Gallery, in Washington, D.C.; the International Center of Photography, in New York; The Brooklyn Museum; the Stedelijk Museum in Amsterdam; the Centre National de la Photographie, in Paris; and the National Portrait Gallery in London. Leibovitz has been designated a Living Legend by the Library of Congress and is the recipient of many other honors, including the Barnard College Medal of Distinction and the Infinity Award in Applied Photography from the International Center of Photography. She was decorated a Commandeur in the Ordre des Arts et des Lettres by the French government. She lives in New York with her three children, Sarah, Susan, and Samuelle.Source: Vanity Fair Leibovitz became Rolling Stone’s chief photographer in 1973, and by the time she left the magazine, she had amassed 142 covers and published photo essays on scores of stories, including the 1975 Rolling Stones tour. Moments of freedom and an unyielding imagination fed the evolution of Leibovitz’s photography. The monumental body of work taken during her thirteen-year tenure at Rolling Stone blurred the lines between celebrity and civilian, interviewer and interviewee, artist and subject, dissolving the boundary separating Leibovitz from those captured in her photographs. Documenting fellow reporters and photographers in addition to their subjects, Leibovitz highlighted those hidden behind the camera and brought them to the forefront. Leibovitz recorded major political moments of the Seventies in the United States, including the 1972 presidential campaign, which she covered with the writer Hunter S. Thompson. In a haunting photograph taken when President Richard Nixon resigned, on August 9, 1974, Leibovitz’s camera records his helicopter as it takes off from the White House lawn. Her immersion within the political landscape extended to photographs from the 1976 election, when figures such as Jerry Brown and Jimmy Carter seized national attention. The artist photographed the Democratic National Convention in New York City, showcasing candid moments with Dianne Feinstein and journalists such as Sally Quinn and Dan Rather. Leibovitz’s unobtrusive lens implicates both the photographer and her colleagues as significant actors and contributors to cultural moments. When traveling with the Rolling Stones to document their tour of the Americas in the summer of 1975, Leibovitz entered the band’s world to such a degree that only her camera served as a reminder of her identity. It was Leibovitz’s distinct ability to immerse herself in varying environments that enabled a direct engagement with her subjects, revealing their true, honest, and perhaps most vulnerable selves. Leibovitz began using a medium-format camera that produced square photographs and was appropriate for shooting set-up portraits with a strobe light. The planned portraits were based on a straightforward idea often stemming from a deeply personal collaboration with her subjects. Evidencing a level of uncanny intimacy and an uncommon depth of engagement, this relationship can be seen in one of her most celebrated photographs, in which a naked John Lennon clutches Yoko Ono. The portrait, made on December 8, 1980, was meant to serve as an intimate emblem of the couple’s relationship. When Lennon was killed just hours after the photo was taken, the image became a powerful visual memorial. In 1983, when Leibovitz joined the staff of the revived Vanity Fair, she was established as the foremost rock-music photographer and an astute documentarian of the social landscape. At Vanity Fair, and later at Vogue, she developed a large body of work – portraits of actors, directors, writers, musicians, athletes, and political and business figures, as well as fashion photographs. Leibovitz’s portraiture reflects a signature technique she developed early in her career, as she consciously and consistently fit style to subject through collaborating with her subjects, photographing them in their homes or in a location that meant something to them, where friends, lovers, children, and other personal markers might appear. Annie Leibovitz’s prolific output and her inventive approach to photography itself position her distinctly within the traditions and trajectory of American portraiture during the twentieth century. Her unique photographic language dovetailed with – and advanced – the medium’s evolution as a force for art making. The singularity of her vision, which included combining portraiture with photojournalism that captured historical and cultural touchstones throughout the United States and abroad, places her within a lineage of some of her personal heroes – artists like Andy Warhol and Richard Avedon, both innovators of their mediums. Influences such as Robert Frank and Henri Cartier-Bresson inspired Leibovitz to turn the tide on photography’s reception. Combining Frank’s highly personal and emotional style of photographic reportage with Cartier-Bresson’s Surrealist and even sculptural art photography, Leibovitz embraced her own inclination toward personal journalism. The artist’s large and distinguished body of work encompasses some of the most well-known portraits of our time.Source: Hauser & Wirth
Dale Niles
Dale Niles
United States
Born in Norfolk, Virginia, Niles' formative years were spent with her family living in small, southern towns in Virginia and North Carolina. Inspired by the heritage of these locales, neighbors, and friends, she developed deep-seated southern roots that richly inform her photography practice with visual storytelling. Niles celebrates the diverseness of the human spirit, appreciating those qualities that make us delightfully unique, yet connected in many ways, particularly through shared experiences and preserved visual memories. Niles majored in sociology at Lenoir Rhyne College in Hickory, North Carolina. While exploring opportunities in her chosen field, she pursued her artistic interests, ultimately discovering that photography was her passion. The medium offers Niles a wide berth of options for technique, subject matter, and her creative process. Exhibitions include group and solo installations across the United States, Canada, Paris, France, and Venice, Italy. Her prints are held in many private collections as well the Museum of Contemporary Art of Georgia (MOCA GA) and the Ogden Museum of Southern Art. A selection of her work is currently exhibited at Mayo Clinic, Jacksonville, Florida. She was selected for Photolucida's Critical Mass Top 200, Ones to Watch , the Fence, an exhibition at Hartsfield International Airport, and she won the Virginia Twinam Purchase Award. Featured publications include: Light and Shadow Magazine, SouthxSoutheast Magazine, Shots, Lenscratch, The HAND Magazine, and Oxford American. Her book, What Lies With: the Eclectic Collections of Andrea Noel received recognition from Elizabeth Avedon as best photography book of 2021. What We Keep The passing of a loved one is a life moment everyone is forced to face and walk through in their own way. A person dies and items of their existence remain. This process is often emotionally and physically overwhelming and taxing. There may be cumbersome items as well as very minuscule things. Some may even have an element of an obscure nature like a set of false teeth. How and what do we choose to keep? Do we keep something as a way to hold on to the person that left us? Is there an emotion that is triggered just by seeing or touching it? Is it valuable or something trivial that has an attached memory that only we can relate to? Does something remind us of the home we once knew that no longer exists? A homesickness feeling may be eased by its presence? Is there a guilt or regret in letting things go or a feeling of obligation? Do we hope that we can pass on these obtained pieces of our heritage as a bridge from past to present to preserve family legacy to those who follow?Is it a way to not only say that your loved one existed but that you too existed as well? People say 'these are just things' and yes they are but a person you loved put meaning to them. I am not one to judge or help in this matter as I kept the teeth.
Oana Daian
Oana Daian
Romania
Oana Daian is a photographer from Romania, currently based in Iasi. After a 12-year career in local television, where she worked as a presenter, show producer, and, for the past four years, as a marketing coordinator, she has now chosen to join the team of the National Theatre in Iasi as the institution’s PR representative. Her interest in visual imagery, its composition, and the communication of emotions and information through it was the trigger that inspired her to embark on a magical journey into the world of photography. Statement: Nature has always been my silent companion and greatest teacher. Through photography, I seek to capture its details, its distances, its depths, and its essence — all in synchronicity with my own presence within it.Between me and all of this, a camera and a lens that that explore the world beyond and my inner self; two universes resonating in unison, living the same moment and the same emotion, dissolving the boundaries between them and becoming a mirror of all our experiences. I wish for those who look at my photographs to rediscover, in this mirror, the most beautiful part of their soul. AAP Magazine: AAP Magazine 51 Colors
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Exclusive Interview with Tommi Viitala
Interview
Exclusive Interview with Tommi Viitala
Tommi Viitala, winner of AAP Magazine #44: Street, is a Finnish photographer celebrated for his striking and cinematic street photography. With a keen eye for atmosphere and composition, he captures fleeting urban moments that reveal the poetry of everyday life. His work often explores the tension between solitude and connection within contemporary cityscapes, blending documentary realism with artistic sensibility. Viitala’s photographs have been exhibited internationally and recognized for their strong visual storytelling and emotional depth. We asked him a few questions about his life and work.
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Exclusive Interview with Robert Mack
Interview
Exclusive Interview with Robert Mack
Robert Mack is a California-based visual artist, photographer, and filmmaker. His fine art photography and films have been exhibited widely in the United States and Europe, with major shows at the Baltimore Museum of Art and the Reiss-Engelhorn Museum in Mannheim, Germany. Both institutions hold his work in their permanent collections. Working across different media, Mack has built a career exploring the complexities of human presence and representation. In 1981, while living in Baltimore, he produced The Perkins Project: Not Guilty by Reason of Insanity, a rare photographic and film study inside Maryland’s hospital for the criminally insane. These stark yet compassionate black-and-white portraits remain one of his most powerful and controversial bodies of work.
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