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Final Chance to Win a Solo Exhibition this April! Deadline: March 18, 2025
Final Chance to Win a Solo Exhibition this April! Deadline: March 18, 2025
Rasel Chowdhury
Rasel Chowdhury
Rasel Chowdhury

Rasel Chowdhury

Country: Bangladesh
Birth: 1988

Rasel Chowdhury is a documentary photographer. Rasel started photography without a conscious plan, eventually became addicted and decided to document spaces in and around his birth place, Bangladesh. He obtained his graduation in photography from Pathshala, South Asian Media Institute, and in due course, he found the changing landscapes and environmental issues as two extremely important subjects to document in his generation. Rasel started documenting a dyeing river Buriganga, a dying city Sonargaon and newly transformed spaces around Bangladesh railway to explore the change of the environment, unplanned urban structures and the new form of landscapes. During the same time, he started developing his own visual expression as a landscape photographer to address his subjects with a distinctive look.


All about Rasel Chowdhury:

AAP: When did you realize you wanted to be a photographer?
In 2007, when I dropped my moot study (ACCA). Before that Photography was my hobby.

AAP: Where did you study photography?
I studied photography at Pathshala, South Asian Media Institute.

AAP:Do you have a mentor or role model?
Yes, Munem Wasif is my mentor who works in Agency VU. And Jemie Penney was my one of mentor from Getty Image when I was selected for the Getty Image Emerging Talent Award in 2012.

AAP: Do you remember your first shot? What was it?
Yes, I was 6-7 years old. I got a Yashick Auto camera from my father and I took my teacher’s photo by first click. Still I’ve that film in my archive.

AAP: What or who inspires you?
So many people specially my Family member and friends.

AAP: How could you describe your style?
I always like calm and quite frame with special faded tone and less contrast.

AAP: Do you have a favorite photograph or series?
Many, like The Ballad of Sexual Dependence by Nan Goldin, The Americans by Robert Frank and so on.

AAP: What kind of gear do you use? Camera, lens, digital, film?
Mostly, I shoot on 35mm film camera and then I crop as 6X7.

AAP: Do you spend a lot of time editing your images? For what purpose?
Not so much.

AAP: What are your projects?
Desperate Urbanization, Railway Longing, Life on Water and No Money, No Deal.

AAP: Favorite(s) photographer(s)?
Lot of photographers like Richard Avedon, Alec Soth, Nadav Kander, Dayanita Singh, Munem Wasif, Antoine D’Agata and so many.

AAP: What advice would you give a young photographer?
Find your strength and believe in it.

AAP: What mistake should a young photographer avoid?
Don’t be hurry. Be honest.

AAP: An idea, a sentence, a project you would like to share?
Desperate Urbanization- a story about dying river.

AAP: Your best memory as a photographer?
When I shot at Old People Home in Niort, France.

AAP: Your favorite photo book?
Lots of photo books like Under The Banyan Tree, Belongings, Anticrops and so on.

AAP: Anything else you would like to share?
Twelve significant photographs in any one-year is a good crop - Ansel Adams.
 

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Kimiko Yoshida
Kimiko Yoshida is a Japanese visual artist who was born in 1963 and lives in Europe since 1995. Subtle, fictional, paradoxical, Kimiko Yoshida’s Bachelor Brides form an ensemble of quasi-monochromatic self-portraits, fragments of an intimate web, elaborating on a singular story: the feminine condition in Japan. Her images are large format, luminous squares, underlining her fantasy-bio epic. While still very young, Kimiko Yoshida was struck by the story of her own mother, who met her husband for the first time on her wedding day. Kimiko Yoshida’s own story is compelling. Born in Japan, she left to France in 1995, where she adopted a new language, a new way to live, to create. She studied photography at the Ecole Nationale at Arles, later she went to Le Fresnoy Studio at Tourcoing, France. Kimiko Yoshida has been concentrating on this series of intangible self-portraits which can be read as a quest for the hybridization of cultures, for the transformation of the being, and perhaps even as a deletion of identities. The metamorphosis of her own identity into a multiplicity of identifications expresses the fading of uniqueness, the "deconstruction" of the self. Source: Gallery 51 Kimiko Yoshida was born in Tokyo, Japan in 1963. Feeling oppressed as a woman, she left Japan in 1995 and moved to France to pursue her artistic ambitions. She studied at the École Nationale Supérieure de la Photographie in Arles and the Studio National des Arts Contemporains in "Le Fresnoy". Since gaining her artistic freedom, Yoshida has been working prolifically. Her work revolves around feminine identity and the transformative power of art. In her most recent project, Painting. Self-Portrait she wears elaborate costumes and paints her skin in a monochrome color that matches the background. The monochromatic elements accentuate the fashion of Yoshida’s costumes. For the artist, the costume is "the field of diversion, detournement, and deflection." The visual elements, coupled with the titles’ reference to artists and paintings of the past (Ophelia by Delacroix, The Torero Bride with a Black Suit of Lights, Remembering Picasso), are meant to come together to challenge conventional notions and traditions of art and cultural identity. "I want an image that tries to rethink its own meanings and references." For her self-portraits, Yoshida received the International Photography Award in 2005. She continues to exhibit worldwide, and her work is found in the permanent collections of the Museum of Fine Arts of Houston, the Israel Museum, the Kawasaki City Museum, and the Maison Européenne de la Photographie in Paris. Source: Holden Luntz Photo Gallery
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Robert Heinecken
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This mountainous region, once part of the Austro-Hungarian Empire, had become the faultline between two conflicting ideologies after World War II and until 1991, when attempts at rapprochement led to conflict on both sides of the border. The book Last Journey (2002), and Strasseger's film Grenz Räume (Border Space, 2002), document Morath's visits to her homeland during the final years of her life.Source: Wikipedia
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