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Paul Brouns
Paul Brouns
Paul Brouns

Paul Brouns

Country: The Netherlands

I am a Dutch photographing artist that lives and works in Almere (near Amsterdam). I was born in 1967 in a small village in the South of the Netherlands. In 1990 I graduated from the Academy of Fine Arts in Tilburg (NL) in painting, drawing and photography. In the 1990's photography was still an analogue process and not having a darkroom of my own, in those early decades I was busy painting, because I wanted to work with colours and that was the most direct way to do this. However after the development of digital photography all of this started to change. By now my camera and the computer have gradually become my main tools for creation. Rhythm, color and geometry have always been important in my work and for this architecture has proven to be an ideal subject. As a photographer I am attracted by the abstract, rhythmic expression of buildings. It is my aim to captivate the viewers by feasts of dancing shadows, sunlit reflections or colour combinations. I hope that through my work they will learn to appreciate and enjoy the visual music that surrounds us.

The Music of Architecture
My motto "the music of architecture" stands for the artistic desire to communicate the abstract beauty of buildings. In the abstraction I see an important parallel with instrumental music. Terms like rhythm, composition, texture, scale and colour can be used to describe the feeling of my work, but it also can be applied to describe music. I try to visualise the sensation of a building as purely as possible: many images show façades that are completely frontal and fill the entire composition, so the rhythm and shallow depth of the building surface plays the main role. This ongoing series is called "Urban Tapestries".
In other works the perspective depth and its converging lines play an important role. A third element is using my photographic elements to create a new reality. What unites these different elements is my desire to express myself through images that are all about the fascination with colour and rhythm.

Gallery

Saatchi Art

Websites

www.paulbrouns.com

@paulbrouns

 

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More Great Photographers To Discover

Elliott Wilcox
Elliott Wilcox
United Kingdom
Elliott Wilcox is a London based, British photographer who recently graduated from the University of Westminster, MA Photographic Studies program. He has been the recipient of several awards including a Judges Award at the Nikon Discovery Awards and a New York Photo Award. Elliott recently won a prestigious Lucie Award for the Discovery of the Year at the International Photography Awards. Elliott has exhibited internationally and in the UK, his first major series 'Courts' was part of the show ‘PRUNE – Abstracting Reality’ at FOAM Gallery Amsterdam with guest curator Kathy Ryan, editor of the New York Times Magazine. Wilcox was also part of the BBC’s documentary series – School of Saatchi. His art work beat thousands of emerging art talents to the top ten artists involved in the show. Source www.elliottwilcox.co.uk
Frederick Sommer
Frederick Sommer
United States
1905 | † 1999
Frederick Sommer (September 7, 1905 – January 23, 1999), was an artist born in Angri, Italy and raised in Brazil. He earned a M.A. degree in Landscape Architecture (1927) from Cornell University where he met Frances Elizabeth Watson (September 20, 1904 – April 10, 1999) whom he married in 1928; they had no children. The Sommers moved to Tucson, Arizona in 1931 and then Prescott, Arizona in 1935. Sommer became a naturalized citizen of the United States on November 18, 1939. Considered a master photographer, Sommer first experimented with photography in 1931 after being diagnosed with tuberculosis the year prior. Early works on paper (starting in 1931) include watercolors, and evolve to pen-and-ink or brush plus drawings of visually composed musical score. Concurrent to the works on paper, Sommer started to seriously explore the artistic possibilities of photography in 1938 when he acquired an 8×10 Century Universal Camera, eventually encompassing the genres of still life (chicken parts and assemblage), horizonless landscapes, jarred subjects, cut-paper, cliché-verre negatives and nudes. According to art critic Robert C. Morgan, Sommer's "most extravagant, subtle, majestic, and impressive photographs—comparable in many ways to the views of Yosemite Valley’s El Capitan and Half Dome by Ansel Adams—were Sommer’s seemingly infinite desert landscapes, some of which he referred to as 'constellations.'" The last artistic body of work Sommer produced (1989–1999) was collage-based largely on anatomical illustrations. Frederick Sommer had significant artistic relationships with Edward Weston, Max Ernst, Aaron Siskind, Richard Nickel, Minor White, and others. His archive (of negatives and correspondence) was part of founding the Center for Creative Photography in 1975 along with Ansel Adams, Harry Callahan, Wynn Bullock, and Aaron Siskind. He taught briefly at Prescott College during the late 60s and substituted for Harry Callahan at IIT Institute of Design in 1957–1958 and later at the Rhode Island School of Design. In 1934, Frederick Sommer visited Los Angeles. Walking through the art museum one day, he noticed a display of musical scores. He saw them not as music, but as graphics, and found in them an elegance and grace that led him to a careful study of scores and notation. He found that the best music was visually more effective and attractive. He assumed that there was a correlation between music as we hear it and its notation; and he wondered if drawings that used notational motifs and elements could be played. He made his first “drawings in the manner of musical scores” that year. (After reviewing this text, Fred asked that the author refer to his scores “only” in this way. When the author suggested that it was perhaps too long to be repeated throughout the text, he laughed and said, “Well, use it at least once.”) Although people knew of his scores, and occasionally brought musicians to his house to play them, no one ever stayed with it for long. In 1967, both Walton Mendelson and Stephen Aldrich attended Prescott College, Prescott, Arizona, where Sommer was on the faculty. They barely knew of his reputation as a photographer, and nothing of the scores. Towards the end of September he invited them to his house for dinner, but they were to come early, and Mendelson was to bring my flute. “Can you play that?” he asked, as they looked at one of the scores, framed, and sitting atop his piano. With no guidance from him, they tried. Nervous and unsure of what they were getting into, they stopped midway through. Mendelson asked Aldrich where he was in the score: he pointed to where Mendelson had stopped. They knew then, mysterious though the scores were, they could be played. On May 9, 1968, the first public performance of the music of Frederick Sommer was given at Prescott College. Sommer had no musical training. He didn't know one note from another on his piano, nor could he read music. His record collection was surprisingly broad for that time, and his familiarity with it was thorough. What surprised Mendelson and Aldrich when they first met him were his visual skills: he could identify many specific pieces and almost any major composer by looking at the shapes of the notation on a page of printed music. Of Sommer's known works, his drawings, glue-color on paper, photographs, and writings, it is only these scores that have been a part of his creative life throughout the entirety of his artistic career. He was still drawing elegant scores in 1997. And like his skip reading, they are the closest insight to his creative process, thinking and aesthetic. Bruce Silverstein Gallery is the New York representative of the Frederick & Frances Sommer Foundation.Source: Wikipedia Frederick Sommer was an artistic polymath, with deep interests in painting, drawing, photography, sculpture and collage. With his work he intended to engage the world formally, to harvest its chance gifts, decontextualizing and rearranging found images and objects according to often shocking visual affinities. The artist played with a wide variety of forms, textures and scale to create startling compositions amid objects and sites others found too insignificant to notice. Sommer was intent on expanding the limits of where beauty could be found, and after viewing a display of original musical scores, he began to formulate his own theories correlating the graphic design to the sound of musical scores. Alongside many great artists of the period including Edward Weston, Max Ernst, Man Ray and Aaron Siskind, Sommer created a unique and avant-garde body of work formulated from his interest in Surrealism. His works have been exhibited by the world’s most important institutions, including the George Eastman House, Rochester; The J. Paul Getty Museum, Los Angeles; Delaware Art Museum; Serpentine Gallery, London; Charles Egan Gallery, New York; Philadelphia College of Art; Washington Gallery of Modern Art, Washington D.C.; Pasadena Art Museum, California; Museum of Modern Art, New York; Institute of Design, Chicago; Zimmergalerie Franck, Germany; and the Los Angeles County Museum of Art. Work by the artist is represented in major museum collections internationally such as the Metropolitan Museum of Art, New York; Smithsonian Institution, Washington D.C.; Art Institute of Chicago; Museum of Modern Art, New York; Los Angeles County Museum of Art; Museum of Fine Arts, Boston; National Gallery of Art, Washington D.C.; Maison Européenne de la Photographie; George Eastman House, Rochester; and the Victoria and Albert Museum, London. Sommer’s work has been published widely. Noteworthy publications include Frederick Sommer: Photography, Drawing, Collage (2005), The Mistress of the World Has No Name: Where Images Come From (1987), Frederick Sommer at Seventy Five, a Retrospective (1980), and Venus, Jupiter and Mars: The Photographs of Frederick Sommer (1980).Source: Bruce Silverstein Gallery
Laura Aguilar
Laura Aguilar
Mexico/United States
1959 | † 2018
Laura Aguilar, a pioneering photographer, used her lens as a powerful tool for social empowerment and representation. Born with a keen eye and a deep sense of empathy, Aguilar sought to challenge the traditional narratives of art history by capturing the beauty and dignity of marginalized communities often overlooked by mainstream society. Aguilar's work defied convention, focusing on subjects that had long been excluded from the artistic canon. From lesbians and Latinas to individuals with disabilities and those whose bodies did not conform to societal norms, Aguilar fearlessly confronted stereotypes and celebrated the diversity of human experience. Her photographs were a testament to the strength, resilience, and inherent worth of each individual, regardless of their background or identity. I wouldn't know what to do with the perfect body. Can we get comfortable with the imperfections? – Laura Aguilar What set Aguilar apart as an artist was not only her choice of subjects but also her meticulous attention to the formal aspects of photography. Drawing inspiration from both modernist and Social Documentary traditions, Aguilar infused her work with a unique perspective informed by her own lived experience as a lesbian Latina. Through her lens, she sought to capture the essence of her subjects in a way that transcended superficial appearances, inviting viewers to connect with the humanity and complexity of each individual. Above all, Aguilar viewed art as a means of giving voice to those who had been silenced or marginalized. Her photographs served as a powerful form of advocacy, challenging viewers to confront their own biases and preconceptions while fostering empathy and understanding. Through her art, Aguilar sought to create a more inclusive and compassionate society, one where all individuals were valued and respected for who they are. I know some people see me as very childlike, naïve. Maybe so. I am. But I will be damned if I let this part of me die! – Laura Aguilar Despite facing obstacles and adversity throughout her life, Aguilar remained steadfast in her commitment to social justice and equality. Her work continues to inspire and provoke, reminding us of the importance of representation and the transformative power of art. Laura Aguilar's legacy lives on through her photographs, which serve as a testament to the enduring strength of the human spirit and the possibility of positive change.
Marna Clarke
Marna Clarke
United States
I am 81 years old. I was born and raised in Baton Rouge, Louisiana, and have lived the last quarter of my life in California. The intervening years were spent in pursuit of a college education in North Carolina, working for IBM in Washington, DC, educating myself in photography in New York City and Connecticut, and living in Michigan where my parents finally moved to be near my sister and her family. Somewhere along the way I got married, had two sons, divorced, and stopped photographing. I moved to California in 1996, to Marin County north of San Francisco. Five years later I met a man who saw some of my work on the walls of my home and encouraged me to get back to photographing. He courted me for a year after which he asked me to move in with him. In 2005, he bought me a digital camera and I fell in love again with the magic of recording images I found interesting and unique. In 2010, I started photographing the two of us as we began showing signs of getting old. Little did I know that eleven years later I’d still be engaged in that project, entitled Time As We Know It. I have received numerous recognitions for my work including being accepted into the 2020 deYoung Museum Open Exhibition. I was also awarded the grand prize at the 2021 Kaunas (Lithuania) International Photo Festival and was honored to be voted into the Critical Mass Top 50 artists in Photolucida’s 2021 competition. Time As We Know It On my 70th birthday, I woke from a dream in which I had rounded a corner and seen the end. This disturbing dream moved me to begin photographing my partner and myself, chronicling our time of growing old. Now, eleven years out, he and I face numerous physical challenges: decreased mental acuity, especially memory; the diminished quality of our skin, hair and teeth; mild disfigurement; as well as the need to tend vigilantly to our balance, hearing, sight, physical agility and getting adequate sleep. Inside we are learning to accept what is, sometimes going from anger, impatience, sadness or fear to seeing the humor in the idiosyncrasies of growing old. We realize that if we can be comfortable with our own aged appearances and limitations, then the potential exists that others will become more comfortable witnessing this transformation and possibly become more comfortable with their own. I have entered taboo territory, aging and death. The creation of these photos is part of my own way of dealing with the inevitability of dying by bringing attention to it and accepting it. I have come to embrace them as a tribute not just to our lives but also to the demanding and courageous task of growing old gracefully, graciously, and aware. A certain wisdom is evolving from years of living and observing, eventually unveiling previously unseen associations, patterns and similarities. I am gaining a much-appreciated perspective that was not available to me as a younger woman.
Lee Friedlander
Lee Friedlander
United States
1934
Lee Friedlander (born July 14, 1934) is an American photographer and artist. In the 1960s and 70s, working primarily with 35mm cameras and black and white film, Friedlander evolved an influential and often imitated visual language of urban "social landscape," with many of his photographs including fragments of store-front reflections, structures framed by fences, posters and street-signs. Friedlander studied photography at the Art Center College of Design located in Pasadena, California. In 1956, he moved to New York City where he photographed jazz musicians for record covers. His early work was influenced by Eugène Atget, Robert Frank, and Walker Evans. In 1960, the Guggenheim Memorial Foundation awarded Friedlander a grant to focus on his art and made subsequent grants in 1962 and 1977. Some of his most famous photographs appeared in the September 1985 Playboy, black and white nude photographs of Madonna from the late 1970s. A student at the time, she was paid only $25 for her 1979 set. In 2009, one of the images fetched $37,500 at a Christie's Art House auction. Working primarily with Leica 35mm cameras and black and white film, Friedlander's style focused on the "social landscape". His photographs used detached images of urban life, store-front reflections, structures framed by fences, and posters and signs all combining to capture the look of modern life. In 1963, the International Museum of Photography at George Eastman House mounted Friedlander's first solo exhibition. Friedlander was then a key figure in curator John Szarkowski's 1967 "New Documents" exhibition, at the Museum of Modern Art in New York City along with Garry Winogrand and Diane Arbus. In 1973, his work was honored in Rencontres d'Arles festival (France) with the screening "Soirée américaine : Judy Dater, Jack Welpott, Jerry Uelsmann, Lee Friedlander" présentée par Jean-Claude Lemagny. In 1990, the MacArthur Foundation awarded Friedlander a MacArthur Fellowship. Friedlander now works primarily with medium format cameras (e.g. Hasselblad Superwide). Whilst suffering from arthritis and housebound, he focused on photographing his surroundings. His book, Stems, reflects his life during the time of his knee replacement surgery. He has said that his "limbs" reminded him of plant stems. These images display textures which were not a feature of his earlier work. In this sense, the images are similar to those of Josef Sudek who also photographed the confines of his home and studio. He was awarded The Royal Photographic Society's Special 150th Anniversary Medal and Honorary Fellowship (HonFRPS) in recognition of a sustained, significant contribution to the art of photography in 2003. In 2005, the Museum of Modern Art presented a major retrospective of Friedlander's career, including nearly 400 photographs from the 1950s to the present. In the same year he received a Hasselblad International Award. The retrospective exhibition was presented again in 2008 at the San Francisco Museum of Modern Art. Concurrent to this retrospective, a more contemporary body of his work, America By Car, was displayed at the Fraenkel Gallery, also in San Francisco. "America By Car" was on display at the Whitney Museum of American Art in New York City in late 2010. He is the father of cellist Erik Friedlander, and Anna Friedlander. Source: Wikipedia
Antoine Buttafoghi
Antoine Buttafoghi
France
1959
Antoine Buttafoghi has been teaching image (and techniques related to photography) as a trainer, consultant and professor at the university for over 20 years. He worked for a long time with the magazine "Création Numérique" as a specialist journalist and won several awards in international competitions. He was twice finalist of the prestigious Hasselblad Master Competition (20012 and 2018). He seeks to convey his sense of graphics and aesthetics which help bring out the quintessence of a subject or a nature. He pays special attention to the tensions between the different visual masses and always seems to be looking for the perfect balance. His photographs have been exhibited in Brazil, Japan, Hungary, United Kingdom, India, Italy. He is currently preparing a personal exhibition in Russia.
Martine Franck
Martine Franck
Belgium
1938 | † 2012
Franck was born in Antwerp to the Belgian banker Louis Franck and his British wife, Evelyn. After her birth the family moved almost immediately to London. A year later, her father joined the British army, and the rest of the family were evacuated to the United States, spending the remainder of the Second World War on Long Island and in Arizona. Franck's father was an amateur art collector who often took his daughter to galleries and museums. Franck was in boarding school from the age of six onwards, and her mother sent her a postcard every day, frequently of paintings. Ms. Franck, attended Heathfield School, an all-girls boarding school close to Ascot in England, and studied the history of art from the age of 14. "I had a wonderful teacher who really galvanized me," she says. "In those days she took us on outings to London, which was the big excitement of the year for me." Franck studied art history at the University of Madrid and at the Ecole du Louvre in Paris. After struggling through her thesis (on French sculptor Henri Gaudier-Brzeska and the influence of cubism on sculpture), she said she realized she had no particular talent for writing, and turned to photography instead. In 1963, Franck's photography career started following trips to the Far East, having taken pictures with her cousin’s Leica camera. Returning to France in 1964, now possessing a camera of her own, Franck became an assistant to photographers Eliot Elisofon and Gjon Mili at Time-Life. By 1969 she was a busy freelance photographer for magazines such as Vogue, Life and Sports Illustrated, and the official photographer of the Théâtre du Soleil (a position she held for 48 years). From 1970 to 1971 she worked in Paris at the Agence Vu photo agency, and in 1972 she co-founded the Viva agency. In 1980, Franck joined the Magnum Photos cooperative agency as a "nominee", and in 1983 she became a full member. She was one of a very small number of women to be accepted into the agency. In 1983, she completed a project for the now-defunct French Ministry of Women's Rights and in 1985 she began collaborating with the non-profit International Federation of Little Brothers of the Poor. In 1993, she first traveled to the Irish island of Tory where she documented the tiny Gaelic community living there. She also traveled to Tibet and Nepal, and with the help of Marilyn Silverstone photographed the education system of the Tibetan Tulkus monks. In 2003 and 2004 she returned to Paris to document the work of theater director Robert Wilson who was staging La Fontaine's fables at the Comédie Française. Nine books of Franck's photographs have been published, and in 2005 Franck was made a chevalier of the French Légion d'Honneur. Franck continued working even after she was diagnosed with bone cancer in 2010. Her last exhibition was in October 2011 at the Maison Européenne de la Photographie. The exhibit consisted of 62 portraits of artists "coming from somewhere else" collected from 1965 through 2010. This same year, there were collections of portraits shown at New York's Howard Greenberg Gallery and at the Claude Bernard Gallery, Paris. Franck was well known for her documentary-style photographs of important cultural figures such as the painter Marc Chagall, philosopher Michel Foucault and poet Seamus Heaney, and of remote or marginalized communities such as Tibetan Buddhist monks, elderly French people, and isolated Gaelic speakers. Michael Pritchard, the Director-General of the Royal Photographic Society, observed: "Martine was able to work with her subjects and bring out their emotions and record their expressions on film, helping the viewer understand what she had seen in person. Her images were always empathetic with her subject." In 1976, Frank took one of her most iconic photos of bathers beside a pool in Le Brusc, Provence. By her account, she saw them from a distance and rushed to photograph the moment, all the while changing the roll of film in her camera. She quickly closed the lens just at the right moment, when happened to be most intense. She cited as influences the portraits of British photographer Julia Margaret Cameron, the work of American photojournalist Dorothea Lange and American documentary photographer Margaret Bourke-White. In 2010, she told The New York Times that photography "suits my curiosity about people and human situations." She worked outside the studio, using a 35 mm Leica camera, and preferring black and white film. The British Royal Photographic Society has described her work as "firmly rooted in the tradition of French humanist documentary photography." Source: Wikipedia Born in Belgium, Martine Franck (1938-2012) grew up in the United States and in England. She studied art history at the University of Madrid and at the École du Louvre in Paris. In 1963, she went to China, taking her cousin's Leica camera with her, and discovered the joys of documenting other cultures. Returning home via Hong Kong, Cambodia, India, Afghanistan and Turkey, and bought her first camera while on the trip. Returning to France, she worked as a photographic assistant at Time-Life where she developed her own technique. In 1966, Franck met Henri Cartier-Bresson, whose photographs epitomized Magnum's tradition of humanitarian photography. Franck was adamant that she would neither bask in his reflection nor disappear in his shadow and she joined the Vu agency in 1970. Her first solo exhibition was planned for the ICA in London that year; when she saw that the invitations were embossed with the information that her husband would be present at the launch, she cancelled the show. With Vu's demise, Franck co-founded the Viva agency in 1972. It also collapsed and it was not until 1980 that Franck joined Magnum, becoming a full member in 1983. She was one of the few women to be accepted into the agency and served as vice-president from 1998 to 2000. Eschewing the war/human tragedy reportage that characterized Magnum's reputation, Franck continued her projects on marginal or isolated lives throughout the rest of her life. Source: Howard Greenberg Gallery
Taisuke Sato
Taisuke Sato
Japan
1969
Taisuke was born in Nagoya, Japan in 1969. After graduating from the Department of Sociology at Ritsumeikan University, Kyoto, Japan, he worked in housing sales and management for a major Japanese housing company. When he turned 50, he chose to spend his life exploring arts, photography and its philosophy, then turned to be a photographer. He takes pictures in the style of street photography. They have some feelings, lonely, surreal, and humorous. He also has a unique sensitivity to the distance between society and people, and the perspective from which he views them. This is because when he was a boy, he moved every three years due to his father's job transfer. As a result, he learned how to blend in quickly and get along with the existing community by observing closely and understanding the distance and atmosphere between people. This is because in Japan's collectivist and relationship-oriented society, it is difficult to join an existing group. In addition, the fact that he himself is an existence that "Appears one day and disappears the next" has given him a subjective and objective perspective and thinking, but even so, in Japanese society dominated by the exclusivity of the community and "the Atmosphere of the place", his identity without a hometown or geographical ties is very uncertain and unstable. For this reason, his works are photographed with a unique sensibility, and their atmosphere reflects his worldview. His main theme is the relationship between himself, people, and society. In his work, he presents a methodology that takes a multifaceted view of human life and society and transforms it into a "Acceptance of impermanence". And more, he has deep insights into social behavioral psychology, social science, mental health, social class, Japanese organizational philosophies, housing and family, which are largely reflected in his work.
Michael Kenna
Michael Kenna
United Kingdom
1953
Michael Kenna was born in Widnes, England in 1953. As one of 6 children born to a working class Irish-Catholic family, he initially aspired to enter the priesthood but his passion for the arts led him to The Banbury School of Art where he studied painting and then photography. Later he attended The London College of Printing and began working as a photographer and artist. He moved to San Francisco in 1977 where he was astounded by the number of galleries the city housed which allowed artists to showcase and sell their work. San Francisco has remained his home ever since. Michael Kenna's work has often been described as enigmatic, graceful and hauntingly beautiful much like the Japanese landscape. Kenna first visited Japan in 1987 for a one-person exhibition and was utterly seduced by the country's terrain. Over the years he has traveled throughout almost the entire country constantly taking photographs. From these many treks the book Japan, featuring 95 of these photographs, was conceived. The simplicity and clarity of Kenna's Japan alludes to rather than describes his subject allowing the viewer to have a completely unique and tailored interpretation. He has described this body of work as, "more like a haiku rather than a prose"; his work being like photographs written in short poem form. Kenna's photographs are often made at dawn or in the dark hours of night with exposures up to 10 hours. Kenna has said "you can't always see what's otherwise noticeable during the day... with long exposures you can photograph what the human eye is incapable of seeing". Michael Kenna's prints have been shown in numerous exhibitions throughout the world with permanent collections in the Bibliotheque, Paris; The Museum of Decorative Arts, Prague; The National Gallery of Art, Washington DC; and the Victoria and Albert Museum, London. Kenna has also done a great deal of commercial work for such clients as Volvo, Rolls Royce, Audi, Sprint, Dom Perignon and The Spanish Tourist Board. Japan is one of 18 books of Kenna's photography to have been published to date. Source: Supervision With more than fifty monographs documenting his travels, Michael Kenna shows no signs of slowing down in his endless pursuit of nature's haunting beauty. Whether working in his native England, Easter Island, the coastal towns of France or the islands in Japan, Kenna seeks places of solitude which speak volumes about humanity. Barren seascapes, abandoned fishing nets, fragmented piers, mysterious horizons, trees emerging from under snow drifts – these are just some of the images which dominate Michael Kenna's work from Japan. The result of his efforts can be seen in two books, Hokkaido (2006) and Japan (2002), both published by Nazraeli Press. His newest book, Mont St Michel, continues his passion for solace. Originally built as a community for Benedictine monks, Mont St Michel became a place of prayer, meditation and silence. Kenna made may journeys to Mont St Michel, staying for days at a time, living among the residents, following their codes of silence and prayer. Armed with a camera, Kenna walked the halls, crypts and towers, watching shadows sneak their way around columns and spires, recording the passing of time. Mont St Michel is dedicated to Michael's father who recently passed away. As Kenna states in his introduction: "My dad was a quiet man, he didn't seem to have a need to talk very much...We walked pretty much everywhere, and I liked to walk with my Dad...I think the time in-between destinations was most special for me. We didn't need to say very much to each other. Walking, observing, listening, waiting. Somehow I associate those walks with my time at Mont St Michel...He taught me that it's alright to walk alone sometimes." Whether photographing in Mont St Michel, Japan, China, or the United States, Michael Kenna invites the viewer to walk along with him as he captures moments between events, when human presence seems right around the corner and silence is always present... Source: Catherine Edelman Gallery
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Interview
Exclusive Interview with Marijn Fidder
Marijn Fidder is a Dutch documentary photographer whose work powerfully engages with current affairs and contemporary social issues. Driven by a deep sense of social justice, she uses photography to speak on behalf of the voiceless and to advocate for the rights of those who are most vulnerable. Her images have been widely published in major international outlets including National Geographic, CNN Style, NRC Handelsblad, Volkskrant, GUP New Talent, and ZEIT Magazin. Her long-term commitment to disability rights—particularly through years of work in Uganda—culminated in her acclaimed project Inclusive Nation, which earned her the title of Photographer of the Year 2025 at the All About Photo Awards. She is also the recipient of multiple prestigious honors, including awards from World Press Photo and the Global Peace Photo Award. We asked her a few questions about her life and work.
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Exclusive Interview with Josh S. Rose
Interview
Exclusive Interview with Josh S. Rose
Josh S. Rose is a multidisciplinary artist working across photography, film, and writing. His practice bridges visual and performing arts, with a strong focus on movement, emotion, and the expressive potential of the image. Known for his long-standing collaborations with leading dance companies and performers, Rose brings together authenticity and precise composition—a balance he describes as “technical romanticism.” His work has been commissioned and exhibited internationally, appearing in outlets such as Vogue, at the Super Bowl, in film festivals, and most recently as a large-scale installation for Lincoln Center for the Performing Arts. A sought-after collaborator, he has worked with major artists, cultural institutions, and brands, following a previous career as Chief Creative Officer at Interpublic Group and the founder of Humans Are Social. We asked him a few questions about his life and work.
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Interview with Maureen Ruddy Burkhart
Interview
Interview with Maureen Ruddy Burkhart
Photographer Maureen Ruddy Burkhart brings a quietly attentive and deeply human sensibility to her exploration of the world through images. Shaped by a life immersed in photography, film, and visual storytelling, her work is guided by intuition, observation, and an enduring interest in the emotional undercurrents of everyday life. With a practice rooted in both fine art traditions and documentary awareness, she approaches her subjects with sensitivity, allowing subtle moments to emerge naturally rather than be imposed. Her series Til Death, selected as the Solo Exhibition for February 2025, reflects this long-standing commitment to photography as a space for reflection rather than spectacle. Drawn to moments that exist just outside the expected frame, Burkhart’s images suggest narratives without resolving them, leaving room for ambiguity, humor, and quiet connection. We asked her a few questions about her life and work.
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