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FINAL DAYS TO WIN A SOLO EXHIBITION IN MAY 2026
FINAL DAYS TO WIN A SOLO EXHIBITION IN MAY 2026
Lauren Murphy
Lauren Murphy
Lauren Murphy

Lauren Murphy

Country: United KIngdom
Birth: 2000

Lauren is a still life photographer based in South East England, recently graduated from BA Photography at Middlesex University. A lot of her work stems from an interest in perception and how something recognisable or ordinary can be altered and viewed in a completely different way. She experiments with more abstract styles of working and is influenced by both colour and shape.

Statement
"Lockdown has felt very isolating. Being confined to our homes, normally places we know well, has felt increasingly surreal through over-familiarity. I have explored this concept by taking everyday, mundane objects from around the house and using them to construct something more abstract. I have specifically focussed on colour and shape to alter our perception of how they would normally be viewed. This body of work is made up of multiple mini-projects. Each one has used household materials to explore themes such as shape, geology, texture and abstraction." -- Lauren Murphy
 

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Rachel Nixon
United Kingdom/Canada
Rachel Nixon is a British-Canadian fine art photographer – and former journalist – based in Vancouver. Having lived and worked across continents and cultures, she explores issues such as a desire for connection with one’s heritage, as well as secrecy, isolation and memory. She is intrigued by the visual poetry of everyday life and intuitively seeks out images speaking to beauty and broader messages in the seemingly mundane. In 2019, Rachel graduated with honours from the VanArts professional photography program. Since then, her work has been exhibited nationally and internationally, and she has received a number of accolades including being a four-time category winner in the Julia Margaret Cameron Awards. In 2024, she was named among Dodho Magazine’s top 100 fine art photographers. Rachel has earned attention for her series ''The Garden of Maggie Victoria'', which revives the story of her forgotten great-grandmother through collages integrating archive and contemporary images. In 2023, the series was selected for Blue Sky Gallery’s Pacific Northwest Drawers, and designated a finalist in Critical Mass and the Royal Photographic Society’s IPE 165. Before committing full-time to visual art, Rachel had a 20-year career as a journalist in the UK, US and Canada for the BBC, CBC and Microsoft where she developed and ran digital news services that reached millions. Her passion for storytelling, love of innovation and experimentation, and drive for excellence now extend to her photographic work. Rachel holds a first-class degree from the University of Oxford in Modern Languages. Her wide-ranging international experience offers a unique perspective on identity, place and belonging, and the connections we share despite polarized times.
George Brassaï
Hungary/France
1899 | † 1984
George Brassaï, the pseudonym of Gyula Halász, emerged as a Hungarian photographer, sculptor, and filmmaker who gained international recognition in 20th-century France. He was part of the vibrant community of Hungarian artists flourishing in Paris during the interwar period. In the early 21st century, the unearthing of over 200 letters and numerous drawings and artifacts from the years 1940–1984 has offered scholars valuable insights into his later life and career. Gyula (Jules) Halasz, in the Western order of his name, was born in Brassó, Transylvania, Kingdom of Hungary (known as Brasov, Romania, since 1920), to an Armenian mother and a Hungarian father. He grew up with Hungarian as his primary language. At the age of three, his family resided in Paris for a year, during which his father, a professor of French literature, taught at the Sorbonne. During his youth, Gyula Halász pursued studies in painting and sculpture at the Hungarian Academy of Fine Arts (Magyar Képzomuvészeti Egyetem) in Budapest. Subsequently, he enlisted in a cavalry regiment of the Austro-Hungarian army and served until the conclusion of the First World War. In 1920, Halász relocated to Berlin, where he took on the role of a journalist for the Hungarian newspapers Keleti and Napkelet. Simultaneously, he commenced his studies at the Berlin-Charlottenburg Academy of Fine Arts (Hochschule für Bildende Künste), now known as Universität der Künste Berlin. During this time, he formed connections with several older Hungarian artists and writers, such as painters Lajos Tihanyi and Bertalan Pór, and writer Gyorgy Boloni. These individuals, who later moved to Paris, became part of the Hungarian artistic circle. In 1924, Halász made the decisive move to Paris, where he would reside for the remainder of his life. In an effort to learn the French language, he embarked on a self-taught journey by immersing himself in the works of Marcel Proust. Living among the burgeoning community of young artists in the Montparnasse quarter, he took on a job as a journalist. It wasn't long before he forged friendships with notable figures such as the American writer Henry Miller, and the French writers Leon-Paul Fargue and Jacques Prévert. During the late 1920s, he shared the same hotel with Tihanyi. Halász's profession and his love for the city, where he often wandered the streets late at night, eventually led him to photography. Initially using photography as a means to supplement his articles for additional income, he quickly delved into exploring the city through this medium. His fellow Hungarian, André Kertész, served as his mentor in photography. Using the name of his birthplace, Gyula Halász adopted the pseudonym "Brassaï," meaning "from Brasso." Under this name, he captured the essence of the city in his photographs, culminating in the publication of his first collection in 1933 titled "Paris de nuit" (Paris by Night). The book achieved significant success, earning him the moniker "the eye of Paris" in an essay by his friend Henry Miller. In addition to capturing the more gritty aspects of Paris, Brassaï documented scenes from the city's high society, intellectuals, ballet performances, and grand operas. He formed a connection with a French family who granted him access to the upper echelons of society. Within these circles, Brassaï photographed many of his artist acquaintances, including Salvador Dalí, Pablo Picasso, Henri Matisse, Alberto Giacometti, as well as prominent writers of his era such as Jean Genet and Henri Michaux. Throughout the 1930s, a continuous stream of young Hungarian artists arrived in Paris, and the Hungarian circle welcomed most of them. André Kertèsz, a fellow Hungarian, emigrated to New York in 1936. Brassaï extended his friendships to the newcomers, including Ervin Marton, a nephew of Tihanyi, with whom he had been acquainted since 1920. Marton later gained recognition in street photography during the 1940s and 1950s. While Brassaï sustained himself through commercial work, he also contributed photographs to the U.S. magazine Harper's Bazaar. As a founding member of the Rapho agency, established in Paris by Charles Rado in 1933, Brassaï played a pivotal role. His photographs brought him international acclaim. In 1948, he held a solo exhibition in the United States at the Museum of Modern Art (MOMA) in New York City, subsequently traveling to the George Eastman House in Rochester, New York, and the Art Institute of Chicago, Illinois. MOMA featured more of Brassaï's works in 1953, 1956, and 1968. He was showcased at the Rencontres d'Arles festival in France in 1970, 1972, and 1974 as the guest of honor. In 1948, Brassaï married Gilberte Boyer, a French woman who collaborated with him in supporting his photographic endeavors.
Eva Mallis
United States
Eva Mallis was born in New York City to Greek immigrant parents. Her elementary school years were spent in Queens, New York - the most ethnically diverse area in the U.S. - where she was immersed in a hardworking population striving for the American dream. Pursuing that dream, Eva earned a BA and an MBA and has had a career that encompassed investment banking and real estate. Eva's love of photography surfaced post-college while living in Washington, D.C. and attending photography classes at the Smithsonian Institute. Her passion for street photography grew as she often roamed the streets of downtown Washington, D.C. taking pictures during her lunch hour. After family and career, Eva resumed her passion for photography by taking several classes at the International Center of Photography (ICP) and numerous workshops around the globe. Eva is a New York City based street and documentary photographer. Her photography is best characterized as urban documentary. Eva's work has been shown in numerous group exhibitions in New York City. She has won PDN Magazine's 'Taste' Photo Competition, has received several International Photography Award (IPA) Honorable Mentions and has participated in many juried shows. Statement "I am driven to photograph the human reality, taking a moment to observe, assess and capture sometimes insignificant moments in time. Photography sharpens my awareness of the mundane and the unnoticed. By capturing slivers of time - people going about their every day - my visual slant forces the viewer to recognize the themes of life. I am attempting to thoughtfully communicate that which is too often unseen."
Bruno Barbey
France
1941 | † 2020
Bruno Barbey is a Moroccan-born French photographer. Throughout his four-decade career he has traveled across five continents, photographing many wars. Barbey was born in Morocco and in 1959-1960 he studied photography and graphic arts at the Ecole des Arts et Métiers in Vevey, Switzerland. During the 1960s he was commissioned to photograph European and African countries by Editions Rencontre in Lausanne. In 1964 Barbey began a relationship with Magnum Photos, becoming an Associate member in 1966, and a full member in 1968, at which time he was photographing student riots in Paris. He eventually served as Magnum vice president for Europe in 1978 and 1979 and from 1992-1995 as President of Magnum International. He spent 1979 to 1981 photographing Poland, resulting in his book Portrait of Poland. He rejects the label of 'war photographer', although he has covered civil wars in Nigeria, Vietnam, the Middle East, Bangladesh, Cambodia, Northern Ireland, Iraq, and Kuwait. From 2005 Barbey has, among other work, been pursuing a project on Istanbul. Source: Wikipedia Bruno Barbey was born on Feb. 13, 1941, in Berrechid, Morocco, just south of Casablanca, and grew up in various parts of the country: Rabat, Salé, Marrakesh and Tangiers. His father, Marc, was a diplomat; his mother was Marie Clement-Grandcourt. From a young age he knew he wanted to travel the world like Antoine de Saint-Exupéry, the French writer and aviator. Bruno’s parents sent him to Paris for high school, where he was a “dunce and a thwarted lefthander,” he wrote in his retrospective photographic book, Passages (2015). He and his friends skipped classes to see movies by Italian neorealist filmmakers like Roberto Rossellini and Vittorio De Sica. Mr. Barbey entered Ecole Des Arts et Métiers in Vevey, Switzerland, in 1959 to study photography and graphic arts, but left after a year, because his courses had focused on advertising and industrial photography. He craved the freedom to pursue a single subject for an extended period as the Swiss documentary photographer Robert Frank did in his groundbreaking book The Americans, which was published in France in 1958. Following Frank’s example, Mr. Barbey drove through Italy in a used Volkswagen in the early 1960s, photographing its people in black-and-white in a neorealist style. “My goal,” he wrote in Passages, “was to capture the spirit of the place.” He caught dozens of moments in the life of a nation: a family racing along on a scooter, each person ebullient save for the pregnant mother; a group of girls whose joyful expressions contrast with that of a doleful beggar holding out his hand behind them; little boys playing with realistic-looking weapons; and a host of other characters like prostitutes, priests, old men and Mafiosi. The photographs - which would later be published as The Italians in 2002 - brought him to the attention of Magnum, where he worked for more than 50 years. In addition to the Paris demonstrations, he covered conflicts in the Middle East, Nigeria, Vietnam and Cambodia and recorded life in China, Brazil, India, Japan and Spain. He spent much of 1981 in Poland during the rise of the Solidarity trade union, capturing Poles in a period of turmoil and torment. He collected the pictures in Portrait of Poland (1982). “He brought genteel attention to the human experience — with a lot of kindness,” Gilles Peress, another Magnum photographer, said in a phone interview. Mr. Barbey, whose photographs have been widely exhibited, received the French National Order of Merit and was elected a member of the French Academy of Fine Arts, Institut de France, in 2016. He served as a Magnum executive at two different times. In addition to his wife, he is survived by a daughter, Aurélie Barbey; a son, Igor; two sisters, Loïse Barbey-Caussé and Adelaïde Barbey-Guissinger; two brothers, Dominique and Guy; and four grandchildren. Although he left Morocco at age 12, Mr. Barbey kept returning there, lured by its rich colors, light and architecture. Many of his photographs were of quiet moments: a bride showing off her hands decorated with a henna design; a golden-hued interior with a distant figure in a black-and-white striped robe blending into the floor’s design; red hides drying in the sun; and a person in black walking down a lane bracketed by pink walls. “Its very difficult to photograph there,” Mr. Barbey was quoted as saying on Magnum’s website, “because in Islam photography is supposed to bring the evil eye.” He added: “You have to be cunning as a fox, well-organized and respect some customs. The photographer must learn to merge into walls. Photos must either be taken swiftly, with all the attendant risks, or only after long periods of infinite patience.”Source: New York Times
John Thomson
Scotland
1837 | † 1921
John Thomson, one of the great figures of nineteenth century photography, is known for the unusual and exotic nature of his chosen subject matter. Born in Edinburgh, Scotland in 1837, Thomson took up photography as a profession in his early twenties. For ten years, from 1862, he traveled and explored the Far East, visiting Hong Kong, Singapore, Penang and the Malay Peninsula, Siam, Cambodia, Vietnam, Formosa and especially China. Utilizing a large wooden box-type camera capable of accommodating a glass plate of up to 12 x 16 inches, John Thomson photographed commoners and kings, attempting to capture the individual behind the veneer of social status. His photographic record of the Far East documented a complete panorama of the cultures and people of the Far East at a time when Westerners were a few and curious lot. John Thomson not only created a photographic history, but also wrote numerous articles and books on his travels and views of life in the Far East. There is no doubt that it was Thomson’s sympathetic approach to his subjects, and the dignity with which he embued them, as much as his great technical expertise, which enabled him to produce such an outstanding photographic documentary. It is this marriage between sensitivity, technical expertise and sheer professionalism, not to mention his voluminous literary output and descriptions of the scenes and people, which he photographed, that has earned Thomson the title of the ‘first of the great photo-journalists’. His work, which has only recently gained full recognition, represents one of the great photo-historical records in the history of documentary photography. Source Westwood Gallery
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AAP Magazine #57 Portrait
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