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Pol Viladoms
Pol Viladoms
Pol Viladoms

Pol Viladoms

Country: Spain
Birth: 1981

As an artist, his work is based on the documentation of the territory in its broadest sense. Showing a special interest in the representation of landscape and architecture as symbols of territorial and cultural identity, his photographs show a delicate attention to the desolate and inhospitable space. Peripheries, forgotten and obsolete places, ruins... all of them testimony and memory of human activity. His work, halfway between the past and the present, tries to reformulate the intentions of the documentary image, trying to balance form and content. Through a personal approach, he shows the relationship between human beings and nature in a world with a disturbing and uncertain future.

In 2010 he self-published the book of photographs “Home” exhibited at the Centro de Arte Reina Sofía in Madrid, and which is currently part of its Library. The government of the Canary Islands awarded him the first prize in the Septenio International photographic competition “El suelo” (2012). Between 2014 and 2024 he has been awarded 6 LUX prizes from the AFP (Association of Professional Photographers of Spain). His work on Casa Bloc was exhibited at the Fundació Miró (2016) and he participated in the group exhibition “El Gran Tour” (Finalist at Joan Casablancas Award 2017). In 2018 he received the second prize in the photographic contest “Paisajes cuotidianos” of the Urban Landscape Institute of Catalonia. Among others, he has participated in the art fairs Art Fair Cologne and Affordable Art Fair Amsterdam (2019). In 2020 he was a finalist for the Vila Casas Photography Award. In 2021 he was awarded in the Photography Exhibition of the XV Spanish Biennial of Architecture and Urbanism as well as finalist of the ENAIRE Foundation Award. In 2022 he was finalist of the International Photography Award ECA Espai d’Art Contemporani in Riba-Roja de Túria. He has participated in several collective and individual art exhibitions in Spain as well as in France and the USA (New York and Detroit).

Gallery

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Websites

polviladoms.com

@polviladoms

 

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More Great Photographers To Discover

Anna Hayat and Slava Pirsky
Anna Hayat and Slava Pirsky
Israel
We are Anna Hayat (born 1974) and Slava Pirsky (born 1965), originally from the Soviet Union. Each of us decided to start a new life in Israel in the early 90s, in search of new horizons. Fate brought us to Jerusalem through different paths, where we lived for over 20 years and now find joy in a small town nearby. We met in 1999 and instantly felt a special connection, as if our shared passion for photography brought us closer. In 2000, we became proud parents of an exquisite daughter whom we started photographing from her very birth. Since then, we have become an inseparable team and partners in the world of photography and art. For over 20 years, we have actively collaborated on joint photography projects. Our creative process revolves around analog photography, primarily using old Polaroid large-format black and white negative plates. Despite the discontinuation of production of these films in 2008, we use expired films to create unique and emotive works of art. We capture images using both a large studio camera and small field Polaroid cameras. The slow shooting process is of utmost importance to us, as it imparts a special depth to our works. In a way, the negative itself becomes another partner in our process. We appreciate the unpredictability of old negatives, which gives our photographs a distinct character, a touch of poetry, and a timeless feeling that is crucial to our work. Our latest project reflects our emotions and pain caused by Russia's treacherous aggression. For this series, we ventured into a mixed technique for the first time, tearing and cutting our works, stitching them anew, adding patches and seams. The project was showcased at the Ramlah Museum and immediately after at the KyotoGraphie International Photography Festival in Japan.
Jean Karotkin
Jean Karotkin
United States
1949
Documentary/portrait photographer Jean Karotkin began making black and white portraits of breast cancer survivors in 2001, as she herself was undergoing treatment for the disease. Her images garnered recognition from the Dallas Morning News, Texas Monthly, CNN and NPR, among others, and were exhibited at The Houston Center for Photography and the Amon Carter Museum of American Art. Karotkin's subsequent portrait series, Mirrors - featuring drag queens, burlesque dancers, and the inmates of Chowchilla women's prison - also highlight and disrupt prevailing notions of beauty. In November 2021, Karotkin was featured in FotoNostrum magazine, which highlighted an array of the artist's portraits, including images from her most personal body of work: Disappearing Soul: Self Portraits in the time of Covid, for which the artist turned the camera on herself to capture the languishing effects of Covid-related isolation. The series was awarded an honorable mention from the Julia Margaret Cameron Competition, recognized by the L'OEIL de la PHOTOGRAPHIE and ARTDOC, featured in the April 2022 issue of Lens magazine and spotlighted by the Los Angeles Center of Photography. Karotkin recently completed a second collection of self-portraits, entitled West Shore Motel, for the Disappearing Soul series. For this body of work, which was shot at a Long Island roadside Motel, the artist continued to address the human need for companionship. However, here, she added an implicitly sexual element to the narrative that distinguishes it from the series' initial installment and boldly implies the type of desire that women ''of a certain age'' are traditionally denied. Karotkin's portfolio also features an expansive commercial series of botanical prints, entitled Gymnopédies, many of which were featured in the March 2023 issue of Lens magazine. Ninety-one of these prints were acquired by and installed in The Park Belvedere, an Upper West Side New York condominium, at 101 West 79th. The Museum of Arts and Design also added one to the art collection featured in their restaurant, Robert. Along with her growing botanical series, Karotkin is currently working on a monograph entitled (In)sight: Women Who Work Behind the Lens, a collection of black and white portraits of some of the most eminent female photographers and curators working today. In April 2022, images from the series were exhibited as part of a group show at the Soho Photo Gallery in New York, NY. Born in Dallas, TX, Jean Karotkin lives in New York City.
Argus Paul Estabrook
Argus Paul Estabrook
South Korea/United States
1977
I'm a biracial Korean-American photographer who works in both South Korea and the USA. Frequent travel between these two countries has provided me a unique perspective of Korean identity and its relationship to both global and regional communities. As an artist, I'm interested in creating work that gives voice to others and I often volunteer my efforts to marginalized communities. My work has been awarded by the Magnum Photography Awards, Sony World Photography Awards, LensCulture, IPA, MIFA, TIFA, as well as exhibited at the Aperture Summer Open: On Freedom. I've also been twice selected as a Critical Mass Top 50 artist by Photolucida and a three-time recipient of PDN's Annual Exposure Award. Additionally, I am an alumnus of the prestigious Eddie Adams Workshop and was named the 2017 Dorothy Liskey Wampler Eminent Professor in the School of Art, Design and Art History at James Madison University. Losing Face "Losing Face," documents the energy and emotions surrounding the impeachment protests of South Korean President Park Geun-hye. In October 2016, her relationship with a shadowy advisor from a shaman-esque cult was revealed to extend to acts of extortion. Protests were then held every weekend until Park was formally removed from office in early March 2017. This is what it looks like when the South Korean President loses face. This Is Not an Exit "This Is Not an Exit," bears witness to my father's unexpected struggle with Stage 4 pancreatic cancer as well as documents my mother's grief after his passing. Tying my photography to my mother's narration of events, we weave an intimate family record- one of vision and voice. Bound together through a personal process of grief, I hope "This Is Not an Exit" creates an emotional map, one that reveals our connectedness to each other while also furthering an understanding for all those navigating the loss of a loved one. More about Losing Face
Gregori Maiofis
Gregori Maiofis
Russia
1970
Gregori Maiofis was born in 1970 in Leningrad, Soviet Union, now St Petersburg, Russia. His grandparents, Solomon Maiofis (1911-1968) and Olga Ugriomova (1913-2009) were architects, father, Mikhail Maiofis (b. 1939) is a famous book illustrator. In 1987-1989 studied at the Academy of Arts (the Institute of Painting, Sculpture and Architecture n.a. Y. Repin) in St Petersburg at the graphic arts department. In 1991 his family moved to Los Angeles, California where he lived until 1995. Currently lives and works in St Petersburg, Russia. Gregori Maiofis has had solo exhibitions across Russia, Europe, and the U.S. since 1993. His work is in many museum collections including the following: Museum of Fine Arts, Houston, Los Angeles County Museum of Art, Santa Barbara Museum of Art, Multimedia Art Museum, Moscow, The State Pushkin Museum of Fine Arts, Moscow, Museum of modern Art, Moscow, Novy Museum, St Petersburg, Russia, National Gallery of Slovakia, Bratislava, Museum of Modern Art, Rio de Janeiro.Source: gregorimaiofis.com Gregori Maiofis (Russia, b. 1970) comes from a family lineage of artists and architects including his father, the renowned graphic artist, Mikhail Maiofis, who nurtured artistry early in his son's life. Maiofis is a classically trained printmaker and graphic artist who began his first photographic projects in 2000. Printmaking is still an integral part of the artist's oeuvre, which following experimentation with gelatin silver prints and several alternative processes, led to his now prominent use of bromoil and bromoil transfer printing. Common among the Pictorialist masters of the early 20th Century, the bromoil process allows the artist unique aesthetic abilities to manually control the color, tone and texture of the final picture on various surfaces. In the series Proverbs (Monograph available, Nazraeli Press, 2014) the artist uses proverb texts of various origins and visually interprets and conceptualizes them in whimsical staged compositions. Often working with trained animals including elephants, monkeys and predominantly a bear named Funt, Maiofis creates a new reality of interplay between human and animal. Several of the prints on view depict a dialogue of ballet between a Russian ballerina and the bear who appears thoroughly enthused by the performance before him.Source: The Eye of Photography In his work, Maiofis seems to follow the well-worn formulas of how to make “real art, art not for pleasure” but one does get certain pleasure all the same. That pleasure comes from vibrancy of the works’ surface, be it painting or photography. Maiofis has enriched his photography with his painting experience of how to “saturate the surface” of his works so that the “depth” of space in his photos is produced by an illusion of sombre depth like in Baroque painting rather than by multiplanarity of composition. In the photo series Fables he turned to the fables written by Ivan Krylov dubbed Russian La Fontaine in the latter half of the 18th and the earlier half of the 19th centuries. In conformity with the Soviet tradition those fables were for a long time interpreted as a reading matter for children. The artist refutes this view and creates a photographic semblance of space which, in complexity, is commensurable with the fables’ rich associative and semantic content. Here, he uses various forms of photography, combining collage, montage, and painting on photography, and using prints to build the scene for a new still. In his subsequent works, Gregori Maiofis mocks at artistic erudition itself by looking at “simple truths” crammed into a freshman’s head in the history-of-art class. As a rule, people don’t stop to think about the hidden meaning of objects habitually used in art. Maiofis subjects such cliches to ridicule, which brings about sudden recognition of how complex the habitual is. He provokes this recognition not unlike a practicing painter who would recognize that classical photography is the most expressive pictorial means known to him. He thus creates photography involving text that cannot be fully narrated elsewhere.Source: De Santos Gallery
Bruno Barbey
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
Jacob Riis
Jacob Riis
Denmark/United States
1849 | † 1914
Jacob August Riis was a Danish-American social reformer, "muckraking" journalist, and social documentary photographer. He contributed significantly to the cause of urban reform in America at the turn of the twentieth century. He is known for using his photographic and journalistic talents to help the impoverished in New York City; those impoverished New Yorkers were the subject of most of his prolific writings and photography. He endorsed the implementation of "model tenements" in New York with the help of humanitarian Lawrence Veiller. Additionally, as one of the most famous proponents of the newly practicable casual photography, he is considered one of the fathers of photography due to his very early adoption of flash. While living in New York, Riis experienced poverty and became a police reporter writing about the quality of life in the slums. He attempted to alleviate the bad living conditions of poor people by exposing their living conditions to the middle and upper classes. Riis had for some time been wondering how to show the squalor of which he wrote more vividly than his words could express. He tried sketching but was incompetent at this. Camera lenses of the 1880s were slow as was the emulsion of photographic plates; photography thus did not seem to be of any use for reporting about conditions of life in dark interiors. In early 1887, however, Riis was startled to read that "a way had been discovered to take pictures by flashlight. The darkest corner might be photographed that way." The German innovation, by Adolf Miethe and Johannes Gaedicke, flash powder was a mixture of magnesium with potassium chlorate and some antimony sulfide for added stability; the powder was used in a pistol-like device that fired cartridges. This was the introduction of flash photography. Recognizing the potential of the flash, Riis informed a friend, Dr. John Nagle, chief of the Bureau of Vital Statistics in the City Health Department who was also a keen amateur photographer. Nagle found two more photographer friends, Henry Piffard and Richard Hoe Lawrence, and the four of them began to photograph the slums. Their first report was published in the New York newspaper The Sun on February 12, 1888; it was an unsigned article by Riis which described its author as "an energetic gentleman, who combines in his person, though not in practice, the two dignities of deacon in a Long Island church and a police reporter in New York." The "pictures of Gotham's crime and misery by night and day" are described as "a foundation for a lecture called 'The Other Half: How It Lives and Dies in New York.' to give at church and Sunday school exhibitions, and the like." The article was illustrated by twelve-line drawings based on the photographs. Riis and his photographers were among the first Americans to use flash photography. Pistol lamps were dangerous and looked threatening, and would soon be replaced by another method for which Riis lit magnesium powder on a frying pan. The process involved removing the lens cap, igniting the flash powder, and replacing the lens cap; the time taken to ignite the flash powder sometimes allowed a visible image blurring created by the flash. Riis's first team soon tired of the late hours, and Riis had to find other help. Both his assistants were lazy and one was dishonest, selling plates for which Riis had paid. Riis sued him in court successfully. Nagle suggested that Riis should become self-sufficient, so in January 1888 Riis paid $25 for a 4×5 box camera, plate holders, a tripod and equipment for developing and printing. He took the equipment to the potter's field cemetery on Hart Island to practice, making two exposures. The result was seriously overexposed but successful. For three years, Riis combined his own photographs with others commissioned of professionals, donations by amateurs and purchased lantern slides, all of which formed the basis for his photographic archive. Because of the nighttime work, he was able to photograph the worst elements of the New York slums, the dark streets, tenement apartments, and "stale-beer" dives, and documented the hardships faced by the poor and criminal, especially in the vicinity of notorious Mulberry Street. A particularly important effort by Riis was his exposure of the condition of New York's water supply. His five-column story "Some Things We Drink", in the August 21, 1891, edition of the New York Evening Sun, included six photographs (later lost). Riis wrote: "I took my camera and went up in the watershed photographing my evidence wherever I found it. Populous towns sewered directly into our drinking water. I went to the doctors and asked how many days a vigorous cholera bacillus may live and multiply in running water. About seven, said they. My case was made." The story resulted in the purchase by New York City of areas around the New Croton Reservoir, and may well have saved New Yorkers from an epidemic of cholera. Riis tried hard to have the slums around Five Points demolished and replaced with a park. His writings resulted in the Drexel Committee's investigation of unsafe tenements; this resulted in the Small Park Act of 1887. Riis was not invited to the eventual opening of the park on June 15, 1897, but went all the same, together with Lincoln Steffens. In the last speech, the street cleaning commissioner credited Riis for the park and led the public in giving him three cheers of "Hooray, Jacob Riis!" Other parks also were created, and Riis was popularly credited with them as well.Source: Wikipedia
JJ Jordan
JJ Jordan
Poland
1973
JJ Jordan is a visual artist, graphic designer, and photographer based in Surrey, UK. Working with both digital and analogue photography he creates monochrome, blurred, layered, or multi-exposed visual metaphors that favour ambiguity over certainty. Jordan’s work is deeply informed by personal experience, influenced by the dreamlike narratives of Murakami, Schulz, and Kafka, and the surreal aesthetics. Artist Statement My work explores the fragile line between perception and reality, between what is seen and what is felt. Through experimental portraiture and conceptual photography, I aim to question visual certainty and challenge the camera’s claim to truth. Often working in monochrome, and drawing on both digital and analogue processes (while deliberately excluding AI), I construct images that blur, layer, or distort, embracing ambiguity over resolution. Themes of memory, identity, and absence run through much of my work. Figures appear half-seen or obscured, more like echoes than individuals, suggestive rather than declarative. A blurred face, a painted square, a fleeting gesture, each becomes a site of tension between presence and disappearance. I am less interested in documenting a subject than in evoking the trace they leave behind: a flicker, a feeling, a fragment. Influenced by the surreal visual languages of art history and by the dreamlike narratives of Murakami, Schulz, and Kafka, my photographs often borrow from the whimsical and the uncanny. I aim to create images that invite pause, a space for wonder, doubt, and emotional reflection. Born behind the Iron Curtain and shaped by time spent across cultures, my perspective is rooted in a sense of displacement and layered experience. My portraits are not confessions; they are invitations, open-ended and unresolved, like memories still in the making. Awarded Photographer of the Week - Week 24
Brad Patocka
Brad Patocka
United States
Born in Upstate NY, USA to a blue-collar upbringing, I was quickly drawn to the rugged environments of the outdoors. This inevitably led to an unrelenting quest for exploration and travel, always driven by a curiosity of what the world is and what it can be. Like many, I first became interested in the photography from Nat Geo magazines, looking at images of the vastly different cultures and habitats around the globe produced by the countless photographers who would grow to be my idols. The aesthetic quality of a physical print really drew me in, photos that can depict a specific situation while also speaking to a larger issue or narrative resonated with me and inspired me to first pick up a camera. I believe we are all story tellers in some way, shape, or form. For me being able to effectively do just that in a single frame has always been the goal. Having the opportunity to cover important issues, and to present them in a powerful light that will ideally create some sort of change or impact others to consider the world we live in, is the ultimate goal. Traveling the globe in pursuit of various projects, I have found my works range from humanitarian aid, human rights, and environmental issues. Discover Brad Patocka's Interview
Monica Denevan
Monica Denevan
United States
1964
Monica Denevan studied photography at San Francisco State University. Her ongoing series, "Songs of the River: Portraits from Burma," began in 2000. Since then, she has returned to many of the same small villages in Burma/Myanmar, making intimate photographs of fishermen and their families in the spare and graphic setting of the Irrawaddy River. She travels with a medium format film camera, one lens, and bags of film, working with natural light and making composed images. Once home, she makes photographic prints in her traditional darkroom. Denevan's photographs have been exhibited internationally including solo shows at Scott Nichols Gallery (Sonoma, CA), Duncan Miller Gallery (Santa Monica, CA), Tao Gallery (Hong Kong) and Serindia Gallery Annex (Bangkok.) In 2020, she was one of 25 artists included in Photo-Eye Gallery's (Santa Fe, NM) first-ever juried exhibition. Her work is currently displayed on The Strand Cruise ship in Burma/Myanmar. She was a Photolucida Critical Mass Top 50 finalist in 2019 and 2012. In 2016, ten of Denevan's images were published in a book of Lao photographs published by Nazraeli Press and Friends Without A Border in NY. In addition, her photographs have been published in ZYZZYVA, LensWork, SHOTS, and Bangkok Airways Inflight Magazine among others. She is the All About Photo 2020 Photographer of the Year award recipient. Monica Denevan is represented by Scott Nichols Gallery. She lives and works in San Francisco. Statement In my ongoing series "Songs of the River: Portraits from Burma," I make portraits of fishermen and their families by the Irrawaddy River. Burma (Myanmar) has a long troubled history, which continues into the present and now receives much more international notice and condemnation since my first trip in 2000. However, little has changed in the quiet villages I often visit. Generations of families live together in thatched roofed huts built on stilts. Women wash clothes in the river. Girls collect river water in large plastic containers that they balance on their heads. Men and boys are often out all night fishing. In the evening, children play, sing, bathe, and joke around at the river's edge. The sounds echo over the water. When in the villages, I am most interested in making portraits of the people I spend my time with, some of whom I have photographed since I first visited the country. I am grateful to be allowed briefly into their lives. The nearby area is stark, minimal, and ever changing, and I use that environment in my photographs. The landscape becomes another subject, another portrait within the picture. As families grow, I incorporate new people into my images, combining the spare, external world with the physicality of the individual. To return to the same place annually and find a new way to see it or to look for what is different is a daily adventure that I enjoy.
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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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