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Silvia Grav
Silvia Grav
Silvia Grav

Silvia Grav

Country: Spain
Birth: 1993

Born in Pais Vasco (Spain) in December, 1993. Learned to draw before she could talk and one day realizes that this is the thing she wants to do for the rest of her life. Consequently, she starts to study fine arts, but is frustrated soon and leaves during her second year to devote herself to real learning and begins to work as an artist. Since then, her art has appeared in several blogs and major journals. On top she is doing the artwork for various musicians and always is involved in some new projects.

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More Great Photographers To Discover

Don Jacobson
Don Jacobson
United States
The world of photography and the world of the natural wonders of the Sierra Nevada opened to Don Jacobson simultaneously. The photographs he took with his little Kodak Brownie were woefully inadequate to express the grandeur of the Range of Light. Within a week of his first backpack trip into the high country, he bought his first SLR, a Pentax Spotmatic and began to take photography classes. His degree is in electrical engineering and he worked in that field for three years. Working for the defense industry became more of a contradiction with his political views initiating a search for a desperately needed a creative outlet. For the next twenty-eight years he worked as a glassblower. His work was shown in galleries across the United States, and the Corning Museum included a piece of his in their 1986 collection of 200 international glassblowers. Although glassblowing was his "day job*," he continued to practice the art of photography, studying photography with Edmund Teske at UCLA for a year. The two different mediums, are connected by light. The magic of glass is in its ability to transmit and reflect light while photography is the capturing of light. During the years he lived in the San Francisco Bay Area, 1973 through 1976, he amassed 135 images of owner decorated vehicles. He is currently a member of the Portland Photographers Forum and the Interim Group, a critique group originally formed by the influential photographer Minor White. Statement I see the world differently now. The camera, which narrows the field of vision, has actually expanded my vision. When I realized I was viewing reality as if it were a series of photographs, I initially questioned that perspective. Now, I know my perception is enhanced and enriched from my pursuit of photography. An already dynamic and interesting world has become more so. I am delighted by quality of light, vibrancy of color, unexpected and often unnoticed detail. The stunning structure of an orchid, the intricate ornamentation on an older building, or dishes stacked in a dish drainer are fascinating to me. Abstractions and patterns are richer and invite investigation. My subject matter is limitless. Anything that appeals to my eye is fair game for my camera.
Attar Abbas
Attar Abbas
Iran/France
1944 | † 2018
Attar Abbas, better known as Abbas, was an Iranian photographer known for his photojournalism in Biafra, Vietnam and South Africa in the 1970s, and for his extensive essays on religions in later years. He was a member of Sipa Press from 1971 to 1973, a member of Gamma from 1974 to 1980, and joined Magnum Photos in 1981. Attar, an Iranian transplanted to Paris, dedicated his photographic work to the political and social coverage of the developing southern nations. Since 1970, his major works have been published in world magazines and include wars and revolutions in Biafra, Bangladesh, Ulster, Vietnam, the Middle East, Chile, Cuba, and South Africa with an essay on apartheid. From 1978 to 1980, he photographed the revolution in Iran, and returned in 1997 after a 17-year voluntary exile. His book Iran Diary: 1971– 2002 (2002) is a critical interpretation of its history, photographed and written as a personal diary. From 1983 to 1986, he travelled throughout Mexico, photographing the country as if he were writing a novel. An exhibition and a book, Return to Mexico: Journeys Beyond the Mask (1992), which includes his travel diaries, helped him define his aesthetics in photography. From 1987 to 1994, he photographed the resurgence of Islam from the Xinjiang to Morocco. His book and exhibition Allah O Akbar, a journey through militant Islam (1994) exposes the internal tensions within Muslim societies, torn between a mythical past and a desire for modernization and democracy. The book drew additional attention after the September 11 attacks in 2001. The choice was to think of oneself either as a photojournalist or an artist. It wasn’t out of humility that I called myself a photojournalist, but arrogance. I thought photojournalism was superior. -- Attar Abbas When the year 2000 became a landmark in the universal calendar, Christianity was the symbol of the strength of Western civilization. Faces of Christianity: A Photographic Journey (2000) and a touring exhibit, explored this religion as a political, a ritual and a spiritual phenomenon. From 2000 to 2002 he worked on Animism. In our world defined by science and technology, the work looked at why irrational rituals make a strong come-back. He abandoned this project on the first anniversary of the September 11 attacks. His book, In Whose Name? The Islamic World after 9/11 (2009), is a seven-year quest within 16 countries : opposed by governments who hunt them mercilessly, the jihadists lose many battles, but are they not winning the war to control the mind of the people, with the "creeping islamisation of all Muslim societies?" From 2008 to 2010 Abbas travelled the world of Buddhism, photographing with the same skeptical eye for his book Les Enfants du lotus, voyage chez les bouddhistes (2011). In 2013, he concluded a similar long-term project on Hinduism with the publication of Gods I've Seen: Travels Among Hindus (2016). Most recently, before his death, Abbas was working on documenting Judaism around the world. Before his death, Abbas was working on documenting Judaism around the world. He died in Paris on 25 April 2018, aged 74. About his photography Abbas wrote: "My photography is a reflection, which comes to life in action and leads to meditation. Spontaneity – the suspended moment – intervenes during action, in the viewfinder. A reflection on the subject precedes it. A meditation on finality follows it, and it is here, during this exalting and fragile moment, that the real photographic writing develops, sequencing the images. For this reason a writer's spirit is necessary to this enterprise. Isn't photography "writing with light"? But with the difference that while the writer possesses his word, the photographer is himself possessed by his photo, by the limit of the real which he must transcend so as not to become its prisoner." Source: Wikipedia Abbas, as he referred to himself professionally, was known for dramatic black-and-white photographs delivered with a point of view, especially in his book Iran Diary: 1971– 2002 (2002), a collection of images and text presented as a sort of journal. When the events that resulted in the overthrow of Shah Mohammed Reza Pahlavi in 1979 began, Abbas supported change, but he soon became disillusioned with Ayatollah Ruhollah Khomeini, who took over the government. “When the revolution started, it was democratic,” The Toronto Star quoted him as saying in 2013. “It was my country, my people and my revolution. Then, slowly, it was being hijacked.” A turning point, he said, was the execution of four generals after a secret trial. He photographed their corpses in a morgue. “Something that we learned,” he said, “is that the extremists always win. That was my main lesson from the revolution. The extremists were prepared to kill, imprison, torture — everything. So they won.” Abbas was born in 1944 in a part of Iran near the Pakistan border. When he was a boy his family relocated to Algeria; he said that growing up during that country’s war of independence sparked his interest in documenting political events. He taught himself to use a camera, and among his earliest jobs was working for the International Olympic Committee at the 1968 Summer Games in Mexico. He would return to Mexico in the mid-1980s, taking pictures throughout the country over three years and producing the 1992 book Return to Mexico: Journeys Beyond the Mask (1992). In the 1970s he worked for the French agencies Sipa and Gamma. Early in that decade he was in Africa, covering the aftermath of the Biafran war in Nigeria and other events. He then found himself back in Iran. “My family is from Iran,” he told Vice in 2015, “but it isn’t as if I felt particularly Iranian back then. But I did feel that things had to change — you can’t just have some shah making all the important decisions for an entire country.” As the situation became more unstable and it became clear to him that the revolutionaries were no better than the regime they were replacing, he faced pressures from friends. “They urged me not to show the revolution’s negative side to the world,” he said. “The violence was supposed to come from the shah, not the protesters. I told them that it was my revolution as well, but I still needed to honor my duty as a journalist — or a historian, if you will.” He left the country in 1980 and did not return for 17 years. The revolution, though, had instilled in him an interest in what people throughout the world were doing in the name of God. “It was obvious after two years that the wave of Islamism was not going to stop at the borders of Iran,” he said in a video interview with The British Journal of Photography in 2009. “It was going much beyond the borders.” There are two ways to think about photography: one is writing with light, and the other is drawing with light. -- Attar Abbas He began by examining that phenomenon, resulting in the book Allah O Akbar: A Journey Through Militant Islam (1994), which recounted his travels through 29 Islamic countries. “When you’ve started with God you might as well stay with him,” he said, explaining why he went on to look at Christianity, paganism, Buddhism and more. It was an examination not of personal faith, he said, but of how faith can be deployed and twisted in other spheres. “What I’m interested in is the political, social, economic, even psychological aspects of religion,” he said, adding, “More and more, nations are defining their identities referring to religion.” If his work often put him in the middle of trouble spots, Abbas was not necessarily interested in images of blood and weaponry. “Most photographers, when they say they’re war photographers, they’re not really war photographers; they’re battle photographers,” he said in the video interview. “War does not limit itself to boom-boom, to the battle itself. Wars are very, very complex phenomenons, because they have a source, and it takes a while to come up, then it happens, and there are consequences. I’m more interested in the why and the afterwards of the wars.” He played down the part of his work that involved putting himself in harm’s way. “They say ‘courage’ — O.K., you have to be courageous,” he said. “But for me courage is a lack of imagination. You cannot imagine that it’s going to happen to you, therefore you go to the battle.”Source: New York Times
Ivan Ferrer
Ivan Ferrer
Israel
1951
Ivan Ferrer took up photography thirteen years ago as a part-time hobby, but it quickly evolved into an all-encompassing way of life. Ivan’s primary wellspring of inspiration is deeply grounded in the global diversity of cultures, encompassing the people, the defining street scenes, as well as their customs, beliefs, and ceremonies. Eager and motivated to showcase what he could, Ivan has travelled to more than 50 countries, determined to share these unique cultures with his viewers. Throughout his photographic career, Ivan has earned numerous prestigious international awards, a testament to his dedication and talent.
Olivier Unia
Olivier Unia
France
1969
I'm French and I've been living in Morocco for 15 years. I like to say that my work is music and everything else is my passion. I discovered photography at a young age via album covers, storm thorgerson, the square format. but I'd never dared try. In the early days of covid, we had so much free time that I watched a lot of videos on the internet about photo techniques, the triangle, etc. I borrowed a camera and went out, in the rare moments I was allowed, to shoot at the skatepark. It took me 10 minutes to set up and trigger the first shot, the skateboard levitating, in focus, the sun behind, I had, thanks to a lot of luck, succeeded in taking my first photo. What a shock, if I'd missed it I'd have put the camera away in my bag forever, but since then I've done almost nothing else, since then I've had my first solo exhibition, I've been lucky enough to win a few prizes, to be published in a magazine and I travel for photography and the craziest thing is that I get paid for it. Statement I look out the window, what's the weather like? Is it raining? How's the sky? And the light?... especially the light. I prepare the bag, the camera, the lenses, which ones to choose? Who am I going to meet? What will I run into? I take several, I take too many, I know... but you never know. I set off at random, music in my ears, I look for beauty, architecture, the street, people, a look, a cat, shadows and light... especially light. I go out photographing like others go fishing, not because I like fish, but because I love these moments, the silence inside me, and if I come back with a beautiful photo or a 50-kilo trout, that's fine with me, but if I come back empty-handed? I still come back happy.
Oksana Omelchuk
Oksana Omelchuk
Ukraine
1983
Oksana Omelchuk is a Kyiv-based visual artist and fine-art photographer whose practice moves between photography, scanography, and digital art. Her journey began with fine art: she studied painting, drawing, sculpture, and applied arts for six years at an art school before pursuing a degree in economics. Photography came later, almost by accident: she first appeared in front of the camera as a model for a friend studying at the Kyiv School of Photography. Curious to learn how to see through the lens herself, she joined the school in 2021, just to take pictures for pleasure. But soon, photography became her main artistic language. She continues her studies at Form, an international educational platform for photographic education, based in France. Through experimentation, she discovered that her true signature lies in drawing: in the imaginative world she had as a child, now translated into contemporary visual form. Her works are not about the moment, but about emotion - each object, whether a flower, an X-ray, or a fragment of furniture, becomes a character carrying a feeling. Oksana creates intuitively, following emotion more than perfection, balancing analysis and spontaneity. Her process is like opening a piano lid before improvisation: uncertain, yet full of discovery. Inspired by music and Renaissance painting, she builds delicate color harmonies that reflect both control and freedom. Her recurring themes explore the anatomy of feelings and the dreamlike dialogue between tenderness and strength. Statement: Art has been part of my life for as long as I can remember. What began with painting in childhood has evolved into a visual language that moves between photography and digital art. I am drawn to the moment where reality dissolves into imagination. Instead of brushes, I use light, scans, and digital tools - painting emotions rather than objects, reinterpreting the visible world through the colors of my inner states. My process is intuitive, experimental, and deeply emotional. I often begin with a photograph and then layer it with digital textures, hand-drawn traces, or scanned materials, allowing the image to transform organically: from documentation into a state of feeling. I explore memory, transformation, and perception - how fragility and strength coexist in a single gesture. For me, art is a quiet dialogue with the world: a way to speak without words, to hold tenderness and truth in the same breath. Articles: AAP Magazine 51 Colors The Garden of My Tenderness
Leo Rubinfien
Leo Rubinfien
United States
1953
Leo Rubinfien, born in Chicago, Illinois, is a photographer and essayist from the United States. He currently resides and works in New York City. Rubinfien rose to popularity in the 1970s as a member of a group of artist-photographers who experimented with new color processes and materials. In 1981, Leo Rubinfien had his first one-person exhibition at Castelli Graphics in New York, and he has since had solo exhibitions at the Metropolitan Museum of Art, the San Francisco Museum of Modern Art, the Cleveland Museum of Art, the Seattle Art Museum, the Corcoran Gallery of Art in Washington, DC, the National Museum of Modern Art in Tokyo, and the Cantor Arts Center at Stanford University. He is the author of two photobooks, A Map of the East (Godine, Thames & Hudson, Toshi Shuppan, 1992) and Wounded Cities. Leo Rubinfien is also a prolific writer, having produced numerous extensive essays on famous twentieth-century photographers. He contributed a memoir, Colors of Daylight, to Starburst: Color Photography in America, 1970-1980 (Kevin Moore, Cincinnati Art Museum / Hatje Caantz 2010), and wrote Wounded Cities, a long personal and historical essay about the September 11th, 2001 attacks and the years that followed. He was the Guest Co-curator of Shomei Tomatsu's retrospective at the San Francisco Museum of Modern Art from 2001 to 2004, and he is the co-author of Shomei Tomatsu / Skin of the Nation (Yale University Press, 2004). Since 2010, he has served as Guest Curator for the San Francisco Museum of Modern Art's exhibition of Garry Winogrand's work, which will embark on a world tour in 2013. The Metropolitan Museum of Art, the Museum of Modern Art, the San Francisco Museum of Modern Art, the Whitney Museum of American Art, the Cleveland Museum of Art, the Seattle Art Museum, the Tokyo Metropolitan Museum of Photography, the Corcoran Gallery of Art, the Bibliothèque Nationale de France, the Yale University Art Gallery, the Cantor Arts Center at Stanford University, and the Fogg Museum have all acquired Rubinfien's work. Leo Rubinfien has received fellowships from the Guggenheim Foundation, Japan Foundation, Asian Cultural Council, and New York University's International Center for Advanced Studies, and he was given the Gold Prize at the 5th Lianzhou International Photography Festival in 2009.
Angela Bacon-Kidwell
Angela Bacon-Kidwell
United States
Angela Bacon-Kidwell is an award winning photographer and visual artist that lives and works in Texas. Angela has a BFA from Midwestern State University, Wichita Falls, Texas, with specialization in painting and photography. Her work emerges from her journey of recovering a sense of self, strength and spirituality through an examination of her identities as daughter, granddaughter, wife, mother and artist. Her photographic work has received numerous awards and honors and has been exhibited and published both nationally and internationally. Recent awards and recognition’s include: nominated for the Santa Fe Prize for Photography in 2011, Finalist for the John Clarence Laughlin Award, First place in the Palm Springs Photo Festival, First Place in the Texas Photographic Society International Competition and 2012 lecture at the Annenberg Space for Photography in Los Angeles.She is currently represented by Afterimage Gallery, Dallas, Texas, Wallspace Gallery, Santa Barbara, CA and Galerie BMG, Woodstock, NYHome by Nightfall (2012-2014)Silence ceased for him in 2011 not a whisper, but a relentless roaring thunder molding his spirit into mourning In his misery, a new vaporous malice was brewing the ringing was a warning tinnitus and cancer were converging Every known eradication was pursued He and I, separated by many miles, shared a need for solitude cultivated by lucid country drives We drove separately through the dark districts of our minds invariably contemplating what was to come, a symbiotic transitory landscape emerged and the thunder soared in 2013 Questions, Answers, Questions, Answers Questions, Answers, Questions, Answers Questions, Answers, Questions, Answers all tedious throbbing answers How many miles in a life? What shape is the color grey? When does an echo become whole? During the three years of relentless discord, I created images of these ambiguous queries emoting, sensing, seeking There is a truth in "big" questions with small answers Clarity in the midst of chaos Hope in the face of despair Silence returned for him on May 24, 2014 He was my father.
Edward Henry Weston
Edward Henry Weston
United States
1886 | † 1958
Edward Henry Weston was a 20th century American photographer. He has been called "one of the most innovative and influential American photographers…" and "one of the masters of 20th century photography." Over the course of his forty-year career Weston photographed an increasingly expansive set of subjects, including landscapes, still lifes, nudes, portraits, genre scenes and even whimsical parodies. It is said that he developed a "quintessentially American, and specially Californian, approach to modern photography" because of his focus on the people and places of the American West. In 1937 Weston was the first photographer to receive a Guggenheim Fellowship, and over the next two years, he produced nearly 1,400 negatives using his 8 × 10 view camera. Some of his most famous photographs were taken of the trees and rocks at Point Lobos, California, near where he lived for many years. Weston was born in Chicago and moved to California when he was 21. He knew he wanted to be a photographer from an early age, and initially his work was typical of the soft focus pictorialism that was popular at the time. Within a few years, however, he abandoned that style and went on to be one of the foremost champions of highly detailed photographic images. In 1947 he was diagnosed with Parkinson's disease and he stopped photographing soon thereafter. He spent the remaining ten years of his life overseeing the printing of more than 1,000 of his most famous images. Source: Wikipedia Edward Henry Weston was born March 24, 1886, in Highland Park, Illinois. He spent the majority of his childhood in Chicago where he attended Oakland Grammar School. He began photographing at the age of sixteen after receiving a Bull’s Eye #2 camera from his father. Weston’s first photographs captured the parks of Chicago and his aunt’s farm. In 1906, following the publication of his first photograph in Camera and Darkroom, Weston moved to California. After working briefly as a surveyor for San Pedro, Los Angeles and Salt Lake Railroad, he began working as an itinerant photographer. He peddled his wares door to door photographing children, pets and funerals. Realizing the need for formal training, in 1908 Weston returned east and attended the Illinois College of Photography in Effingham, Illinois. He completed the 12-month course in six months and returned to California. In Los Angeles, he was employed as a retoucher at the George Steckel Portrait Studio. In 1909, Weston moved on to the Louis A. Mojoiner Portrait Studio as a photographer and demonstrated outstanding abilities with lighting and posing. Weston married his first wife, Flora Chandler in 1909. He had four children with Flora; Edward Chandler (1910), Theodore Brett (1911), Laurence Neil (1916) and Cole (1919). In 1911, Weston opened his own portrait studio in Tropico, California. This would be his base of operation for the next two decades. Weston became successful working in soft-focus, pictorial style; winning many salons and professional awards. Weston gained an international reputation for his high key portraits and modern dance studies. Articles about his work were published in magazines such as American Photography, Photo Era and Photo Miniature. Weston also authored many articles himself for many of these publications. In 1912, Weston met photographer Margrethe Mather in his Tropico studio. Mather becomes his studio assistant and most frequent model for the next decade. Mather had a very strong influence on Weston. He would later call her, “the first important woman in my life.” Weston began keeping journals in 1915 that came to be known as his Daybooks. They would chronicle his life and photographic development into the 1930’s. In 1922 Weston visited the ARMCO Steel Plant in Middletown, Ohio. The photographs taken here marked a turning point in Weston’s career. During this period, Weston renounced his Pictorialism style with a new emphasis on abstract form and sharper resolution of detail. The industrial photographs were true straight images: unpretentious, and true to reality. Weston later wrote, “The camera should be used for a recording of life, for rendering the very substance and quintessence of the thing itself, whether it be polished steel or palpitating flesh.” Weston also traveled to New York City this same year, where he met Alfred Stieglitz, Paul Strand, Charles Sheeler and Georgia O’Keeffe. In 1923 Weston moved to Mexico City where he opened a photographic studio with his apprentice and lover Tina Modotti. Many important portraits and nudes were taken during his time in Mexico. It was also here that famous artists; Diego Rivera, David Siqueiros, and Jose Orozco hailed Weston as the master of 20th century art. After moving back to California in 1926, Weston began his work for which he is most deservedly famous: natural forms, close-ups, nudes, and landscapes. Between 1927 and 1930, Weston made a series of monumental close-ups of seashells, peppers, and halved cabbages, bringing out the rich textures of their sculpture-like forms. Weston moved to Carmel, California in 1929 and shot the first of many photographs of rocks and trees at Point Lobos, California. Weston became one of the founding members of Group f/64 in 1932 with Ansel Adams, Willard Van Dyke, Imogen Cunningham and Sonya Noskowiak. The group chose this optical term because they habitually set their lenses to that aperture to secure maximum image sharpness of both foreground and distance. 1936 marked the start of Weston’s series of nudes and sand dunes in Oceano, California, which are often considered some of his finest work. Weston became the first photographer to receive a Guggenheim Fellowship for experimental work in 1936. Following the receipt of this fellowship Weston spent the next two years taking photographs in the West and Southwest United States with assistant and future wife Charis Wilson. Later, in 1941 using photographs of the East and South Weston provided illustrations for a new edition of Walt Whitman’s Leaves of Grass. Weston began experiencing symptoms of Parkinson’s disease in 1946 and in 1948 shot his last photograph of Point Lobos. In 1946 the Museum of Modern Art, New York featured a major retrospective of 300 prints of Weston’s work. Over the next 10 years of progressively incapacitating illness, Weston supervised the printing of his prints by his sons, Brett and Cole. His 50th Anniversary Portfolio was published in 1952 with photographs printed by Brett. An even larger printing project took place between1952 and 1955. Brett printed what was known as the Project Prints. A series of 8 -10 prints from 832 negatives considered Edward's lifetime best. The Smithsonian Institution held the show, The World of Edward Weston in 1956 paying tribute to his remarkable accomplishments in American photography. Edward Weston died on January 1, 1958 at his home, Wildcat Hill, in Carmel, California. Weston's ashes were scattered into the Pacific Ocean at Pebbly Beach at Point Lobos. Source: www.edward-weston.com
Yixu Wang
Yixu Wang
China
1999
I’m Yixu, born in Tangshan, Hebei, now living in London. My photography is a personal journey exploring identity, the pressures we feel from society, and the everyday traditions of my hometown. AAP Magazine: AAP Magazine #48 Portrait
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Exclusive Interview with Carole Mills Noronha
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Carole Mills Noronha is an Australian photographer whose deeply personal work explores memory, family, loss, and the fragile nature of identity. Living with epilepsy and a lifelong sensitivity to light, she has developed a distinctive photographic language rooted in observation, empathy, and emotional connection. Her images are shaped by lived experience, revealing intimate stories with remarkable honesty and tenderness.
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Exclusive Interview with Trevor Cole: Pastoral Peoples and Practices
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Exclusive Interview with Trevor Cole: Pastoral Peoples and Practices
For this interview, we wanted to focus specifically on The Face of the Mundari and the wider Pastoral Peoples and Practices series. We spoke with Trevor about his long-term work among the Mundari, what continues to draw him back to their cattle camps, and the experience of documenting a culture whose identity remains deeply connected to livestock, tradition, and the natural environment.
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Exclusive Interview with Frank Meo
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In our latest exclusive feature for All About Photo, I speak with veteran photography representative Frank Meo about what it truly takes to build a sustainable creative career today. Frank brings decades of experience working with Fortune 500 companies, major agencies, and documentary photographers to the table. We dive into the critical business skills often left out of art school curriculums, the power of mentorship, and the inspiring evolution of PROJECTIONS—his international salon platform for visual storytellers. It’s an essential read for anyone navigating the commercial or editorial photography landscape today.
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Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
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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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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
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Exclusive Interview with Jan Janssen
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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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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.
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