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Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Mariëtte Aernoudts
Mariëtte Aernoudts
Mariëtte Aernoudts

Mariëtte Aernoudts

Country: Netherlands
Birth: 1956

My name is Mariëtte Aernoudts and since 9 years I am a self thought photographer/ imagemaker. Most of my portraits are from children or young people and always in colour. I work very intuitive and during a shoot my ideas are becoming unstoppable. Except my portraits I create my own imaginary world using my storytelling images. I try to soften the realistic life. I am always looking for renewal, with my own feelings which I want to connect in my photos.

I received several dutch prizes and in 2018 I won an award in SIPA contest Siena Italy. Last February one of my photos was nominated for the Sony World Photography awards.

My Statement: 'What I see is what you get'
 

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More Great Photographers To Discover

Michele Zousmer
United States
Michele Zousmer is a humanitarian and fine art photographer. The camera is her tool to give voice to marginalized communities and witness the human experience. Michele's work celebrates each individual's strength and beauty, as well as their vulnerability and spirit, going beyond how one presents oneself to the world. They are infused with her almost overwhelming empathy. Michele believes a photograph can create a lasting impression of emotion, curiosity, love, and ultimately hope of mankind. It can help people heal, give them dignity, and feel empowered. Her photographs reveal insights into the lives of people we wouldn't otherwise meet. Through her world travels, Michele meets people from different walks of life, listening to their stories and sharing intimate moments with them. The permission they grant and openness they offer by inviting them into their world never ceases to move Michele. The soulfulness of her images comes from developing relationships with the people she engages with. Michele truly believes that even though we may have differences on the outside, inside we are all the same. The images are infused with her almost overwhelming empathy. Artist Statement "My mind, my eyes, and my heart have been opened by my experiences. My life has been forever changed. I hope my work inspires others to feel we all matter and to care more profoundly. Engaging in the world and becoming open to different cultures and traditions allows for more conversation on diversity and equality. Photographs hold the power to connect people and create understanding. This is why I do what I do." Article Mis(s)Understood
Pierrot Men
Malagasy
1954
At first, I wanted to be a painter, and I pursued this path for 17 years. In my third year of middle school, a painter came to present his profession, and I decided to leave school to follow this path. My father, who was a merchant, would have preferred me to become a grocer like him. He cut oA my financial support, so I left home for the “big city,” Antananarivo, with my childhood friend Léon Fulgence. In a coAee plantation, we made a blood pact, promising each other to become artists—he as a painter and I as a photographer. We experienced poverty and hunger in Antananarivo. After returning to my hometown following the political events of 1972, I worked in the family grocery store. After some time, to show my determination to my father, I drew a counterfeit banknote that he mistook for a real one. He was furious, but he also realized I had artistic potential. After doing various small jobs, I was able to buy an enlarger and, in 1974, opened my first photo lab. I worked on weddings, baptisms, and family portraits to support my family. I used a Soviet Zenit E camera with a 50mm lens, a gift from my sister. My first camera was my father’s old Kodak 6x9, which I used for a long time. I also used contact sheets as models for my paintings, and sometimes even postage stamps, as magazines and books rarely reached the provinces. At the same time, I developed my personal photography, following in the footsteps of my African colleagues Seydou Keita and Malick Sidibé. Today, I have achieved my dream and have been a photographer for nearly 50 years. Statement My name is Pierrot Men, and I'm a Madagascan artist-photographer with a passion for my country, Madagascar, which is rich in human and natural diversity. Photography is not just my job, it's my life. I was born here, I grew up here, and the whole essence of my being is deeply rooted in the culture and landscapes of this fascinating island. My passion for photography finds its purest essence in capturing people in their environment, at the heart of the everyday lives of the people who live in my country. My artistic approach stems from an intimate connection with the people of Madagascar. Every click of my camera is an act of love and a testimony to the Malagasy soul, an immersion in the everyday experiences that shape our lives. By photographing the people of my country, I feel as if I am photographing myself, frozen in situations that I have experienced myself. It's an act of personal exploration as much as it is a visual testimony to the richness of our culture. My favourite tool is a 35mm lens, which allows me to get closer to their intimacy, to feel the warmth of their smiles, the depth of their eyes and the sincerity of their gestures. Each shot becomes a moment frozen in time that reveals the very essence of their existence. When I set out to find my subjects, I don't have any predefined themes in mind. I let my emotions guide me. I photograph everything that evokes a deep feeling in me, whether it's the bright joy of a bustling market, the melancholy of a gaze lost in the horizon or the palpable inspiration of a craftsman creating his art with passion... Each image I capture is imbued with the vital energy of Madagascar, with the love I have for this country and its people. Beyond the lens of my camera, there's communication. I like to immerse myself in the daily lives of the people I photograph. I take the time to get to know them, to listen to their stories, to understand their dreams and struggles. These conversations, often fleeting but always meaningful, allow me to create a bond, a connection that transcends the camera lens. It is in these moments of sharing that I discover the true essence of my subjects, which makes each image even more precious. I admit that writing is not my strong point. My photographic language finds its true expression through my camera. Each image I capture speaks for me, tells a silent story. In conclusion, my images are born of this fusion between my love for Madagascar, my deep connection with its people and my ability to capture the essence of the human being through my lens. Each photograph is the result of a passionate exploration, a total immersion in the daily life of my country. Each one tells a story, not only of those I have photographed, but also of myself, of my own experience as a Malagasy individual. This is how my images come to life, through the prism of my lens, freezing the Malagasy soul in eternal moments.
Iwao Yamawaki
Japan
1898 | † 1987
Iwao Yamawaki, born Iwao Fujita, was a Japanese photographer and architect who trained at the Bauhaus. Born in Nagasaki, Yamawaki studied architecture at the Tokyo School of Fine Arts (now the Tokyo University of the Arts) from 1921 to 1926. After his graduation, he worked as an architect for the Yokogawa Construction Company and began to take photographs, which he submitted to the publications and competitions of Kenchiku Gakkai (the Society for Architectural Research). He was active in theatre circles as a costume and set designer and in 1926 he founded the Ningyō-za theatre in Tokyo with Koreya Senda (1904–1994) and others, and became involved with Tan'i Sanka, an avant-garde artists' group, where he met the Bauhaus student Sadanosuke Nakada (1888–1970), and where he later became friends with Takehiko Mizutani (1898–1969), the first Japanese student to study at the Bauhaus. He was formally introduced to Michiko Yamawaki (1910–2000), an heiress and the eldest daughter of a wealthy businessman, whom he married in 1928. He was asked by her father to adopt her family name, which he did in return for is new family-in-law financing the opportunity for both of them to study at the Bauhaus. In May 1930 Iwao and Michiko left Japan for New York, where they spent two months, before traveling to Berlin, where they were reunited with Koreya Senda, who had already been living in Berlin for about two years. Senda, a politically active socialist, was involved with underground theatre in Berlin, and with the Japanese artistic community in the city, to which he introduced the Yamawaki to. They often gathered in decadent bars, such as the El Dorado, a famous gay, lesbian and trans venue. In 1930 Yamawakis, together with Senda, the painter Osuke Shimazaki, lacquer artist Kotaro Fukuoka and photographer Hiroshi Yoshizawa, founded the design studio Tomoe in Berlin. The studio produced posters, gift-wrap paper, and leaflets, and undertook window dressing and interior design for Japanese restaurants. In October 1930 the couple began Josef Albers' first semester preliminary course at the Bauhaus in Dessau. In April 1931 Michiko went on to study in the weaving workshop and Iwao initially studied architecture, but a few months later he changed to the photography course taught by Walter Peterhans. Iwao developed a close friendship with fellow student and later Bauhaus teacher Kurt Kranz. Kranz was interested in photomontage and introduced Yamawaki to it. Iwao Yamawaki had a strong interest in architectural photography and took many photographs of the exterior and interior of the famous Bauhaus Dessau building complex, as well as of buildings in Berlin, Amsterdam and Moscow. His photographs are strongly influenced by the Neues Sehen (New Vision), an avant-garde movement of the 1920s and 1930s espoused by Bauhaus teacher László Moholy-Nagy, which encouraged photography of ordinary scenes using unfamiliar perspectives and angles, close-up details, use of light and shadow, and experimentation with multiple exposure. Senda and his wife, Irma, returned to Japan in January 1931 on the Trans-Siberian Railway. They stayed for a time in Moscow on their way back, and Yamawakis and several others in the Berlin Japanese artistic community joined them for a week, visiting the theatre and seeing the sights. The couple remained in Germany until the Bauhaus Dessau closed at the end of August 1932, when they returned to Japan. On his return to Tokyo, Yamawaki taught photography for 6 months at the Shinkenchiku kōgei (New Architecture and Design College), which was known as the 'Japanese Bauhaus'. He exhibited some of his work, but was dissatisfied with the Japanese photographic scene and gave up photography altogether. He became a successful architect and designed houses for the wealthy, developing a hybrid Japanese and Western design style, with architects such as Mies van der Rohe and Le Corbusier as his influences. Yamawaki also worked as an architectural journalist and was widely published. He designed a modernist villa for himself and his wife in 1934 and they furnished it with pieces that they imported from Germany, such as the Wassily Chair. He established his own architectural office in 1939 and designed the interiors of the Japanese pavilion in the Government Zone at the 1939–1940 New York World's Fair. The Yamawakis had two children in the late 1930s – early 1940s. Although they had mixed in a socialist milieu in Germany, during World War II they collaborated with the ruling Japanese fascist regime. In 1953 Yamawaki designed the Haiyūza theatre for his old friend Koreya Senda, and in 1954 and 1971 Iwao and Michiko Yamawaki brought Bauhaus exhibitions to Japan. However, in the post-war years, they both largely fell into obscurity.Source: Wikipedia
Yusuf Sevinçli
Turkey
1980
Sevinçli’s images are highly personal, subjective and dreamlike, in which place and time are uncertain, redolent instead of a deeply felt vision of the world. His fleeting images of everyday life have an air of timelessness about them. Aesthetically and formally they manifest Sevinçli’s respect and deep engagement with the history of photography. Yusuf Sevinçli earned a bachelor’s degree in communications at Marmara University (Istanbul) in 2003, and attended a Masterclass dedicated to documentary photography in Sweden in 2005. From that moment on, he started building his own work through different series which include Good Dog (2012), Marseille (2014), Walking (2015) and exhibited in several solo and group shows in Le Botanique (Brussels, Belgium), Galerie Les Filles du Calvaire (Paris, France), Arter (Istanbul, Turkey), Angkor Festival (Angkor, Cambodia), Istanbul Modern (Istanbul, Turkey), Gallery Boavista (Lisbon, Portugal), Atelier de Visu (Marseille, France), Elipsis Gallery (Istanbul, Turkey), Rencontres d’Arles (Arles, France). One of his latest series ‘Dérive’ has been presented in several places in France, such as La Filature in Mulhouse, Le Château d’Eau in Toulouse, L’Atelier, Nantes as well as in Moscow during the city’s Biennal of Photography in 2016. He lives and works in Istanbul. Published books; Good Dog (Filigranes Editions, 2012), Marseille (le bec en l’air, 2014), Walking (Filigranes Editions, 2015), PUT (Fail Books, 2017). Source: Galerist Discover Oculus
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AAP Magazine #54 Nature
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