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LAST CALL to Win a Solo Exhibition this March!
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Kang Le
Kang Le
Kang Le

Kang Le

Country: Taiwan

Kang Le, born in Taiwan, with majors in law and philosophy, is a self-taught visual creator. Taking the society in which he lives as the subject, he captures symbolized time and space as well as individuals that serve as microcosms of historical and cultural lineages. His themes touch on the movements and confluence of groups of people, yet without assuming or inferring their situations or tastes. Instead, he translates the consciousness developed by the groups and impressions of their personal lives into photographs.

Moths at the beginning of the century
"Moths at the beginning of the century" is his long-term photography project, where he organizes photos with poetic logic, creating sentimental colors, thereby searching for the intersection between reason and sentimentality, which is neither memory nor reality.
 

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More Great Photographers To Discover

MG Vander Elst
Belgium/United States
1967
Raised In Antwerp, Belgium, MG Vander Elst is a Fine Art Photographer and holds a Certificate of Photography from The Portfolio Center in Atlanta, Ga. She worked as a photographer’s assistant in NYC and developed her Portraiture work which later expanded to include, still life, abstract and landscape work. Art was all around her growing up in Antwerp, where she regularly visited the Ruben’s house, studied the Dutch Masters, and shared her parents love for Modern Art. The light, gesture and intimacy of the Dutch masters and the minimalism of modernists still influence her work. MG’s fine art photography approach is intuitive, stemming from an idea or an emotion. Whether photographing landscape, florals or abstracts she tries to make visible what is invisible, pursuing that intimate moment between inhale and exhale. Statement MG’s latest work in florals, still life and abstract work all stem from the same place, a place of loss, identity and forging ahead. Letting go "Floral images are my new center, I use flowers that I encounter in my neighborhood and local shops, it is no surprise to learn that these flowers embody the range of emotions I have been going through, like remembrance, growth, healing, refuge, and love. Through this process I am learning that photographing the simple lines and daintiness of these flowers they become an exercise in form, in juxtapositions and in letting go. In closely observing the shifting shapes of these living forms, who then transition, mature, and wilt I witness the contrasting paradox in beauty when blossoming or dying combined with their shaggy stalk and the petal’s ethereal texture which generates this visual dissonance that captivate me. I am not frozen and no longer afraid, but instead I am finding a rise of energy in this newfound freedom of moving in a place I have never been." Finding my Way "At the onset of the Pandemic, I lost my mother, simultaneously, my eldest son was preparing to leave for college. With the loss of my mother, I became the adult, the matriarch. The guidance I trusted and the intimacy I relied on was gone, that comfort of being the child vanished. With the anticipation of my son’s departure, I was thrusted into an uncharted emotional landscape, one where I felt undefined as a mother and did not know how to move forward. So, returning to myself and turning the camera onto my body is my way forward. By abstracting my body, I examine the shapes and textures of my form; in this pause, I am able to explore and chart my new emotional landscape. This way I am relearning who I am in order to know where I am going." Conformity "When I am creating still life’s in my own domestic spaces or in my studio. I am asking questions about my life today, as a woman, as mother and as a spouse. Whose ideas about myself am I conforming to? Why do I possess a pink razor, Is this herbal tea really soothing me? By calling attention to the everyday mundane possessions, we surround ourselves with, my intention is clear from the start. In certain instances, I juxtapose them with random objects, or I deliberately leave them by themselves. But by posing these objects in specific places I am adding a tension to the image and the one-dimensional image becomes a multi-dimensional exploration of the time we live in. I am making room for consideration, focusing on what that object means to us and what it evokes in us and why we surround ourselves with it. I aim to create a pause." AAP Magazine: AAP Magazine 26 Shapes Article Silences
Agata Vera Schiller
Agata Vera Schiller was born in 1980 in Inowroclaw, Poland. Grew up in the countryside surrounded by loving family and beautiful nature. She has graduated at the Faculty of Journalism in Poznan in 2003. Lived for several months in Scotland, spending time drawing and taking pictures of landscapes with her first camera Zenit. In 2006, she has made Masters at the Academy of Fine Arts in Poznan, drawing workshop. Moved to Warsaw and began postgraduate studies at the Department of Interior Architecture at the Academy of Fine Arts in Krakow, which she graduated in 2009. Worked for several years as an interior and furniture designer. In 2010 she moved to Beijing for 3 years, working, living and taking lifestyle pictures. In Beijing began her journey in darkroom focused on discovery old techniques of classical photography such as wet plate. Beijing is also a place, where was held her first solo exhibition „Sol oriens” in 2011 at the Polish Embassy in Beijing, and then at the Chaoyang Culture Center in Beijing. She took part in several collective photo exhibitions in Poland. Her photography is not only a lifestyle photography looking for a beauty in simplicity of Scandinavian interior style and magic of everyday life. But the closest to her heart are nostalgic portraits of women, found somewhere between the worlds, living in a dreams. Agata’s fine art photography is characterized by tension between sensual experience and intellectual construction. Agata currently lives and works in Warsaw as a freelance photographer.
Thomas Wrede
Germany
1963
Thomas Wrede was born in 1963 in Iserlohn (Germany). He studied Fine Art in Muenster and Berlin. From 1998 until 2005 he taught photography at the Kunstakademie Muenster. During the last few years numerous exhibitions presented his works in- and outside of Germany. Particularly, the solo exhibitions at the Museum Kunst der Westkueste, Alkersum (2010), the Kunsthalle Bielefeld (2010) and at the Wallraf-Richartz-Museum, Koeln (2007) and the following group exhibitions should be mentioned: at the National Museum for History and Art, Luxembourg (2013), the Seoul Museum of Art, South Korea (2011) and the Art Museum, Wuhan, China (2009). Since 1998 Wrede has shown his works in several galeries of the United States (New York, San Francisco and Los Angeles). Wrede's photographs have also been placed in these major art collections: Staatsgalerie Stuttgart, Landesmuseum Muenster, The West Collection Philadelphia, Kunst-am-Bau-projects in Berlin for the German State, UBS Zuerich & Lucerne, DZ-Bank Frankfurt. The artist won some important awards, among others the Karl-Hofer-Preis of the Hochschule der Kuenste Berlin. Thomas Wrede published all photographic series in several nice books. About Real Landscape Thomas Wrede already counts as an established position to the Duesseldorf photography scene. His large-format, quiet, but also dramatic landscape photographs fascinate in a particular way, as the observer immediately feels himself confronted with all the facets of human existence. Idyll and catastrophe, longing and debacle form the fine line of atmospheres which through Wrede's complex direction have a thought-provoking effect. Scenic cloud formations or glistening sunsets at the horizon blur the boundaries further. The point of origin of his photographic works is time and again the longing for nature. Wrede thereby utilizes in his 'Real Landscapes'-series requisites from model railways, placing miniature houses and trees into real nature – at the beach, into the snow or in a nearby puddle. Yet, only a small excerpt of nature measuring at most a few steps in circumference is of concern. The observer's perception is thus set on the wrong track because in the photograph the whole setting is perceived in line with the size of the trees and houses. The illusion, generated through the inconsistencies and discrepancies of the proportions, is the result of Wrede's skilful use of his analogue plate camera with wide angle – he interferes with scales and reduces distances. A puddle thereby becomes a lake, a pile of snow turns into snowcapped mountain ranges and a few centimetres of even sand become a milelong beach. (from the Press Release by Beck & Eggeling)
Amadeusz Swierk
Poland
1995
Amadeusz Świerk (born in 1995) is a documentary photographer based in Wrocław, Poland. Amadeusz strives to be an honest witness of the world. His work is often oriented on minorities – social, ethnic, religious and based on genuine experience of other human and his culture. Interested in ethnicity and natural way of living, he has done projects about Iranian nomads and informal subculture of people escaping society grown around wooden hut located in Polish mountains. Currently he is working on projects about a (in)famous district in the small town of Legnica, opioid addicts and personal, about his family. The Miracle District The story starts in a middle-sized town of Legnica, located in the southwest of Poland. It should have been unremarkable, but after World War II it had the dubious pleasure of stationing some 60,000 Soviet soldiers, who more or less dictated the town's life. During these difficult times, which ended very late in 1993, a small district called Zakaczawie (named from the local river) incidentally became a refuge for Poles' native life. Among the families of Polish railwaymen and strong Romani community relocated into the district by Communists, small businesses, cafes, pubs and cultural venues thrived, despite the dark shadow of the Soviet garrison. When the Curtain fell and the Soviets finally went away, the town of Legnica finally breathed a sigh of relief. Zakaczawie district wasn't especially lucky though. It's being left out by dynamics of Polish capitalism, omitted by investments and falling into disrepair. The ''Miracle District'' nickname of Zakaczawie gained a bitter and ironic edge, but generations of its citizens still retain a strong sense of community. There's crime, poverty and turbulent biographies being written by commercial exclusion, but many people actively decide to stay there despite the challenges. Contemporary Zakaczawie is a living witness of the winds of change, the whims of history putting the social microcosm of its citizens to new tests. It's not easy for them, but they have to live with it, and they do, mostly by simply staying together. This project aims to show that among the very visual poverty and dilapidation of the Miracle District, there are humans - families, friends, neighbors - trying to live their best. The author spent two years between them to go deep beyond the grim appearances, to understand these people as fully as possible, to become a witness - and to show to the world - their everyday, colorful lives, giving them an outward voice. The Miracle District The Shack Hidden among the scenic Karkonosze mountains in southwestern Poland, deep in the woods and well away from the popular tourist trails, The Shack – as its dwellers tend to call it – is a secret meeting place for a special bunch of people. Despite the lack of electricity and internet, every weekend, regardless of the season, The Shack is brimming with trekkers from various walks of life, who typically don’t have the opportunity to meet or interact. They seek shelter from social conventions and develop their own, unique and intimate, small-scale society and culture. The Shack is a place with rich traditions. Located off the beaten Karkonosze tourist trails, since the 1970s it has been popular with various groups of non-conformists. Hippies flocked there to escape the oppression of the Communist authorities. During the political transformations of the 80s, some of them joined Fighting Solidarity (Polish anti-Soviet and anti-communist underground organization), and The Shack became a print-and-distribution center of subversive leaflets. Throughout the years, both political and non-political visitors created a rich set of rules, The Shack’s unwritten code that acts as a tool for introducing newcomers and keeping a low profile. Breaking the code is punished by a system of humorous tasks. Over time, regulars started families and made professional careers, but they handed over The Shack’s traditions to the younger generation of visitors. There is a position of Shack Keeper, who stays there permanently. He lives alone in the wild, taking care of the building and getting along with its guests. He’s the unofficial leader within The Shack. The Keeper usually changes every few years. The Shack somewhat changes too, as Keeper’s personality influences the atmosphere.Today most Shack visitors come on weekends to escape civilization and relax for a bit. The flock of guests increased significantly during the pandemic; people tried to compensate for the scarcity of face-to-face contacts. The sense of belonging is built by working and eating together, among strangers. Guests forage wood from the forest and chop it, prepare meals on the wood-fired stove, share them with others by candlelight, play guitar, sing and dance – all without modern disturbances of internet and smartphones. The Shack dwellers want to experience the traditional way of life and stay among nature. Most appear occasionally, but there are always some who visit it regularly and enjoy it together.
Georgi Zelma
Russia
1906 | † 1984
Georgi Zelma (1906-1984) is best known for his photographs of Central Asia in the 1920s, of major industrial projects in the early days of the Soviet Union, and of World War II (especially the Battle of Stalingrad). Zelma was a major contributor to the Constructivist photography movement through the 1920s and 30s, working alongside such masters as Aleksandr Rodchenko, El Lissitzky and Boris Ignatovich.Source: Nailya Alexander Gallery Georgi Zelma was born in Tashkent in 1906. The family moved to Moscow in 1921 and Zelma eventually found work at the Proletkino film studios. Later he joined the Russfoto Agency and from 1924 to 1927 was their correspondent in Uzbekistan, Afghanistan, Iran and Central Asia. A large number of his photographs appeared in Pravda. Zelma served in the Red Army (1927-29) before working briefly in Tashkent. In 1930 Zelma joined Souizfoto Agency and his assignments included taking photographs of collective farms and military exercises. His pictures often appeared in the propaganda magazine, USSR in Construction. During the Second World War Zelma worked for Izvestia and took photographs in Moldova, Odessa and the Ukraine. He also covered the battle of Stalingrad. Source: Spartacus Educational Born in Tashkent, Uzbekistan, in 1906, Georgii Anatolevich Zelma moved to Moscow with his family in 1921, where he began taking pictures with an old 9 x 12 Kodak camera. His first experiences as a photographer took place at the Proletkino film studios and during theater repetitions for the magazine Teatr. He soon joined the Russfoto agency. From 1924 to 1927, he returned to his homeland as a correspondent for Uzbekistan, Afghanistan, Iran and Central Asia in order to document Islamic culture being reformed by Soviet socialist reconstruction. This work was published in Pravda Vostoka. In 1927, Zelma was enlisted in the ranks of the Red Army, serving in Moscow. After the demobilization in 1929, he returned to Tashkent and worked briefly for the Uzbek cinema chronicles. In Moscow, he entered the team of Soiuzfoto and received a Leica. Through the 1930s, he was sent on assignment to the mines and factories in the Donbass region, to Collective Farms in Tula province and to the Soviet Military maneuvers in the Black Sea region. He worked with Roman Karmen on the stories The USSR from the Air and Ten Years of the Soviet Socialist Republic of Iakutia, which were published in the propaganda magazine “USSR in Construction”. For this magazine he also collaborated with Max Alpert and Aleksandr Rodchenko. During World War II, he was a correspondent for Isvestiia stationed at the front-line campaigns in Moldova, Odessa, and Ukraine. His most memorable photographs are of the Battle of Stalingrad, where he spent the severe winter of 1942-43. After the war, Zelma worked for the magazine Ogonek and from 1962 for the Novosti press agency. He died in 1984. Source: Lumiere Gallery
Karl Taylor
United Kingdom
Karl Taylor is a professional photographer with over 25 years experience and he is commissioned by leading global companies for his precise attention to detail and his exquisite control of light. Recognised as an expert in the industry Karl is a global ambassador for Hasselblad Camera Company and Broncolor Lighting. Karl’s work covers advertising, beauty and fashion photography for commercial clients. Having started his career in photojournalism he is also comfortable and actively enjoys shooting across a range of other genres. Karl’s ethos is that ‘variety is the spice of life’ and that 'the visual philosophies for creating effective images are universal'. Twelve years ago Karl co-founded what is now VisualEducation.com where he became known for his ability to explain complex subjects extremely clearly. His unique way of teaching and clear instruction has led him to work as a consultant and presenter for, Hasselblad Camera Company, Broncolor Lighting and Adobe as well as appearances on the BBC. His training is also used by top universities and education providers around the world and VisualEducation.com has become one of world’s leading media and visual arts education platforms. Karl regularly travels around the globe, as a photographer, ambassador and educator for leading players in the industry. When not taking pictures, Karl spends much of his time underwater, enjoying his other passion – wreck diving and documenting them in video. This passion has also led Karl to work in underwater video from short films to documentaries & commercials. In 2019 Karl’s anti marine pollution campaign images were nominated for the Prix Pictet award and he has also recently completed filming, directing and producing a documentary film that details a four year search for a lost German submarine and a secret Royal Navy Q-ship. The film was first aired on the BBC in October 2024 and is available on iplayer, Amazon Prime and Apple TV. For more information visit www.TheHuntForTheGermanSubmarine.com Using specialist low light video cameras, Karl is able to reveal the hidden world of shipwrecks in great clarity at depths of up to 75m (250ft), the limit of useful natural light levels. Having been a diver since 1990 and progressing to PADI Divemaster he then qualified with TDI as a Technical Trimix Diver and Advanced Gas Blender. Karl also has extensive experience with DPVs and general boat handling, including successfully completing his RYA Yachtmaster Offshore theory.
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AAP Magazine #55 Women
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