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Win a Solo Exhibition in July 2026 + An Exclusive Interview!
Win a Solo Exhibition in July 2026 + An Exclusive Interview!
Laurence Leblanc
Laurence Leblanc
Laurence Leblanc

Laurence Leblanc

Country: France
Birth: 1967

Laurence Leblanc was born in Paris in the early days of June 1967. Starting her artistic training early on, she studied drawing, painting, and gravure as a child at the Musée du Louvre’s Ecole des arts décoratifs. Later on Leblanc studied visual art at the Academie Charpentier, at its historic La Grande Chaumiere workshop located in Paris.

"Each of us has to tell something that nobody else can tell"
-- Wim Wenders.

Leblanc always had a deep desire to convey her world a little differently and it was in that spirit that she covered Peter Gabriel’s Secret World Tour in the 90’s, travelling large parts of the world with the British musican over the next two years.

In 1999, Leblanc came to the attention of art critic and curator Régis Durand who described her work as : « It exists in these pictures a kind of familiar fantastic, a mix of ordinary poetry and some strangeness » Whatever the medium, the act of creation for Laurence Leblanc comes after gradual impregnation with the subject and his or her environment. The results are often carefully thought-out and reflect both the expansive and minute of the subject and, their context.

Cambodian filmmaker Rithy Panh said of Leblanc that: « Her pictures look like souls… the fuzzyness is not fuzzy, the grainy asppearance is not grain, life is not exactly life. Yet it is not death either, and I like being led on this narrow territory between the two » Leblanc is the winner of awards such as the Villa Médicis Hors–Les–Murs scholarship in 2000, and the HSBC Fondation prize in photographie in 2003. In 2003, Peter Gabriel wrote in the preface of her first book Rithy, Chéa, Kim Sour et les autres "Laurence has continued to explore new areas in her work, and I have watched her develop into an extraordinary artist"

Leblanc’s second book Seul l’air was published in 2009 by Actes Sud. At the same time her exhibition Seul l’air consisting of work from Africa was presented at the 40th International Photography Festival in Arles.

Always expanding her range of learning and creating, Leblanc responded to radio producer and writer Frank Smith’s proposition to create a sound piece for the Atelier de Création Radiophonique. The final 53 minute sound piece was broadcast on France Culture in July 2008. Leblanc also collaborated on the « Sometimes I think Sometimes I don’t think » project with the Domaine de Chamarande.

Bulles de silence, a 19 minutes film, written, produced and directed by Leblanc, was selected and premiered at the Museum’s Night in the Niepce’s Museum in May 2015.

Laurence Leblanc silently follows her own solitary artistic path which leads her to the field of contemporary photographic creativity, yet her strongest ally is time, the time given (and taken by the artist) to observe and to mature.

Represented by the Claude Samuel gallery in 1999 then by the VU’ gallery from 2001 to 2015 Leblanc is a regular at: Art Paris, Art genève, and at Paris Photo since her début there in 1998.

Leblanc’s works can be found in collections ranging from the prestigious National Trust for Contemporary Art in France, the Niépce Museum in Chalon-sur Saône, the French National Library, the HSBC Fondation & Collection, as well as in various private collections includng that of Marin Karmitz. We can see one of her picture in the exhibition « Etranger résident » Marin Karmitz’s collection from 15 october 2017 to 21 january 2018 in la maison rouge – fondation Antoine de Galbert.

Source: laurenceleblanc.com

 

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Piotr Skubisz
Poland
1978
Piotr Skubisz is an independent photographer with a keen interest in portrait photography, the human body, and the exploration of self-awareness and self-discovery. He studied at The Film School in Łódź and Polish Studies at the University of Warsaw, where he developed a strong interest in cultural anthropology, which influences his approach to capturing the human experience. For him, photography is an ongoing journey of experiencing and discovering, blending aesthetics with reflection. Recognized for his work, he has been awarded a Gold and Bronze medal at the PX3 2024 competition and received an official selection in the IPA. Piotr collaborates with individuals to create authentic, expressive portraits and fine art photography. His work often explores the nuances of human emotion and cultural identity, striving to capture the unique essence of each subject. Currently based in Warsaw, Piotr enjoys traveling and is always eager to explore new horizons. Commissions are available, including travel assignments. Statement "Photography, for me, is an ongoing journey of experiencing and discovering. My work explores the intricate layers of identity, self-discovery, and cultural identity through the intimate lens of portrait and body photography. Each image aims to blend aesthetics with introspection, inviting viewers to reflect on the diverse narratives that shape our world. Photography is an essential path for me in discovering and understanding otherness, which also redefines myself. I am always on a journey, even when I am in the same place. From my earliest years, I have been fascinated by otherness in its broadest sense. This fascination, born in the gray reality of communist Poland, led me to immerse myself in books about people from other cultures, from distant lands, seeking to understand different cultures, places, and people. Later, I became absorbed in science fiction literature, which offered another way of looking at the reality surrounding me, from different points of view. For example, Ursula K. Le Guin's "The Left Hand of Darkness," in which there is a species similar to humans known to us from Earth, but with the difference that the organism assumed a given gender only for the duration of the mating season. This described condition showed how many things, views, our perception of reality, cultural conditioning, often unconsciously determine our perception of other people, the world, what is considered obvious and absolute. And ourselves as well. Just as much of our perception of the external world is conditioned by our own body - the left side, the right side. Better vs. worse. The human being and the body in and through which we communicate and perceive the world - these are the topics that are a constant mystery to me, the main theme of my photography. Which, in turn, is a medium of contact with this mystery, a constant discovery of the Other, the Unknown. Through my lens, I strive to celebrate the beauty of diversity and the universal quest for understanding and connection." Recent Awards and Honors: 2024 PX3 (The Prix de la Photographie, Paris): Gold and Bronze Medal (Portrait) | 2024 IPA (The International Photography Awards): Official Selection (Fine Art-Portrait, People-Lifestyle, People-Traditions/Culture) | 2024 Brodziak Academy: TOP10 Masters of Creation | 2024 ReFocus The World Photo Annual Awards: Silver (Fine Art), Bronze (People), Bronze (Portrait), Honorable Mention (People) 4x Nominee (Fine Art, People, 2x Portrait) | 2024 Life Framer: Black & White Editors’ Pick | 2024 TIFA, Tokyo International Foto Awards: Bronze Winner People-Portrait, Honorable Mention 4x (2x Fine Art-Portrait, 2x People-Portrait) | 2024 Monochrome Awards: 3rd Place Portrait, Honorable Mention (1x Portrait, 1x Fine Art) | 2025 LensCulture New Visions 2025, Humanity: Editors' Pick. Awarded Photographer of the Week - Week 08
Cyrus Cornut
France
1977
Trained as an architect, the photographer's work primarily revolves around the city—its form, transformations, imprints, empty spaces, and the human behaviors it elicits. In 2006, his inaugural exploration of Chinese cities debuted at the Rencontres Internationales de la Photographie in Arles under the artistic direction of Raymond Depardon. He became a member of the Picturetank cooperative agency in 2007, remaining with them until its closure in 2017. In 2010, as part of the France 14 group, he presented "Travelling to the Outskirts," a project delving into the landscapes of mass housing in Île-de-France. Since 2011, his research has extended to the role of plants not only in the urban setting but also in rural landscapes. Presently, he is immersed in the creation of a 4x5 medium format collection, affording him a deliberate examination of urban transformations in both Asia and France. Additionally, he is engaged in a more artistic body of work, blending drawing, engraving, and photography. AWARDS and RESIDENCIES Winner Prix HSBC 2021 Shortlisted for the Camera Clara award, 2020 Mutation Residency. Transit/ Montpellier city 2019 ND Award 2018 1rst price. Shortlisted for the Camera Clara award, 2018 1rst price Singularlens 2018 Laureate of the « Albums du Muséum National d’Histoire Naturelle » grant, 2014 Laureate visa de l’ANI 2012, Promenades Photographiques de Vendôme Shorlisted at the HSBC photography award, 2011 Laureate of the Visas de l’ANI, 2006 Villa Tamaris residency, Seyne sur Mer, 2006 CHONGQING, on the four shores of passing times Chongqing municipality, People’s Republic of China, population of 34 million. One of the world’s highest demographic and economic growth rates. The central urban area of 15 million souls is infused by almost 300 000 newcomers every year. Chongqing, the ''Mountain City,'' at the confluence of the Yangtze and Jialang Rivers, struggles to break through the fog that covers it all year long. Heir to the displaced from the Three Gorges dam and daughter to the Beijing authorities – who upgraded her to a municipality, raising her up to the same heights as her big sisters on the East coast – Chongqing has developed at a dizzying speed. Urban forms and infrastructure have sprung up, gravity-defying, embracing the shorelines of its four banks, each of them steeply carved out by the current of the water. The speed of urbanization has outperformed overtaken the slow rhythm of the fishermen, the erosion of the rivers, the powerful hatching of the mountains. The uninterrupted dance of the cranes and the excavators stack people ever higher in an unsettling quickness. No obstacle remains to stop the skyscrapers from surging up. They reproduce themselves almost identically, like metastases. The transport networks cross the water, pierce through the rock, and climb the hills, defiant of the power of the elements. The river has become the artery that the makes beat an economic heart that is resolutely turned towards the economic conquest of the West by way of the new silk road. Only the banks, almost wild, resist, remaining allied with the river and its caprices. People sitting on its embankments watch it meander, watch their sightlines get blocked out and its banks grow thicker. Here and there they still cultivate a few food-producing gardens while they wait fatalistically for the last bits of bare land to disappear.
Miina Savolainen
Miina Savolainen is a community art oriented photographer and an art and social educator from Helsinki whose works deal social engagement. Alongside her artistic work she explores, teaches and develops the use of photography as a pedagogic and therapeutic method. Her work has resulted in the method of empowering photography. Miina Savolainen, her project The Loveliest Girl In The World and the method of empowering photography have received several awards in Finland. Miina Savolainen is a member of The Finnish Phototherapy Association and The Union of Artist Photographers.Besides The Loveliest Girl in the World, Miina Savolainen is an instructor in a communal art project concerning fatherhood. For two years now, a group of amateur photographers have been preparing an exhibition on the theme of fatherhood to Helsinki Jugendhall for autumn 2007, using the method of empowering photography. She is currently working on a community art project involving intersexed and transgendered individuals.The Loveliest Girl in the World is a community art project undertaken by photographer, art and social educator Miina Savolainen with ten girls from Hyvönen Children's Home. It has taken almost a decade to complete. The project is based on the idea of “empowerment” and the belief that everyone has the right to feel unique and special. The fairytale quality of the photographs reveals a truth often obscured by the rough and tumble of daily life - the person each young girl feels she really is inside. It allows the girls to regard themselves as strong and undamaged people. These photographs are deeply authentic, revealing the universal desire to be seen as good and valuable. “Photography can help to show people how they are treasured; how much they mean to me,” writes Miina Savolainen. “Accepting one's own portrait is a metaphor for accepting one’s own personality. During years the photographing has become an intimate and profound way to interact with the girls. This exceptional long-term relationship can be seen in the special kind of openness and intimacy of the photographs. Although the pictures in the series of the Loveliest Girl in the World are artificial and not from the everyday life they are bound to the tradition of realistic photography. The documentary quality of the pictures is multilayered. On one hand the pictures are documents of growing up, the young girls' personalities and dreams. On the other hand the pictures make certain features of the girls visible which cannot be seen in their everyday selves. The childhood of the young who have grown up in a Children's home includes a lot of feelings of being abandoned and of being invisible. It also includes the burden of other people's prejudices, the stigmatisation of being a Children's home resident. 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The pictures are a proof of conclusiveness of the photograph, which is not only bound to what’s visible. The Loveliest Girl in the World doesn't portray the Children's home residents the way the people living in margins are usually portrayed. The pictures are also something else from the sexist way of how young women and girls are exhibited in today's public places. Above all the fairy-tale feeling of the pictures is metaphorical; it is a longing for a clean, innocent state of dreaming where you can see yourself as a whole and an ideal person, protected from the gaze and the expectations of other people. The series brings up questions on how the present visual culture makes one a part of the society. The pictures of the young in the Children's home tell stories of being a girl and being a human in general. The deepest content of the pictures, the need to be seen, is familiar to anyone. The attempt to learn to see oneself in a more gentle way is especially addressing in our time where people are surrounded by the endless requirements from different fields of life. The Loveliest Girl in the World exhibitions have prompted the public to think about the capacity of the photograph to influence on societal and personal levels. From the point of view of photography the project also raises questions about the author and ethics. This project could be seen as community photography. It includes the models not only in the creation of the photographs but also in the selection of the exhibited pictures.The project, its accompanying exhibition and Miina Savolainen has been awarded the Spotlight of the Year 2003 special prize of the jury, the Vision of the Year award 2004, Duodecim Finnish Medical Association’s 2005 Cultural Award, the Young Photographer of the Year award 2005 and the State Award for Children´s Culture 2006. 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Matt Black
United States
1970
Matt Black is from California’s Central Valley, a rural, agricultural area in the heart of the state. He started photography working at his hometown newspaper. He was nominated to Magnum Photos in 2015. Since 2015, he has travelled over 100,000 miles across 46 states for his project American Geography. Other works include The Dry Land, about the impact of drought on California’s agricultural communities, and The Monster in the Mountains, about the disappearance of 43 students in the southern Mexican state of Guerrero. Both these projects, accompanied by short films, were published by The New Yorker. His work has appeared regularly in TIME Magazine, The New Yorker, The California Sunday Magazine, and other publications. He has been honored three times by the Robert F. Kennedy Memorial Prize, including their top honor for journalism. In 2015, he received the W. Eugene Smith Memorial Award for Humanistic Photography, and was named a senior fellow at the Emerson Collective. He lives in Exeter, a small town in the Central Valley.Source: Magnum Photos Matt Black, an artist from California’s Central Valley, produces enigmatic narrative works in his native region and in related places that are deeply grounded in societal and environmental concerns. Since 2014, Black has traveled over 100,000 miles across 46 states for his project American Geography, a personal portrait of an increasingly divided and unequal America. Black’s gripping images of some of the most marginalized communities in America are as visually captivating as they are brutally honest and human. A member of Magnum Photos, Matt Black creates work that while rooted in the documentary tradition, is also noted for its deeply personal approach, its emotional engagement, and visual intensity. Excerpts from American Geography have been widely published and exhibited in the United States and internationally. A book of the project will be published in 2021 by Thames and Hudson, to accompany a traveling exhibition that opened at the Deichtorhallen Hamburg in 2020. Other bodies of work include The Dry Land, about the impact of drought on California’s agricultural communities, and The Monster in the Mountains, about the disappearance of 43 students in the southern Mexican state of Guerrero in 2014. Both of these projects, accompanied by short films, were published by The New Yorker. In addition to the New Yorker, portfolios of Black’s work have appeared in TIME Magazine, The California Sunday Magazine, as well as many international publications such as Le Monde, France and Internazionale, Italy. Black’s Instagram feed The Geography of Poverty, where he experiments conceptually with GeoTagging and other digital documentary approaches, has over 233,000 followers and earned him TIME’s Instagram Photographer of the Year in 2014. He has been honored three times by the Robert F. Kennedy Memorial Prize, has been named a senior fellow at the Emerson Collective, and was the recipient of the W. Eugene Smith Memorial Award in 2015 for Humanistic Photography.Source: Robert Koch Gallery
Shannon Taggart
United States
Shannon Taggart is an artist and author based in St. Paul, MN. In a past life, she contributed to printed publications including TIME, Newsweek, New York Times Magazine, Discover, New York, Wall Street Journal and Reader’s Digest. Her work has been exhibited internationally and recognized by PDN, Nikon, Magnum Photos + Inge Morath Foundation, American Photography, International Photography Awards and the Alexia Foundation for World Peace. Her first monograph, SÉANCE (Fulgur Press), was published in 2019. Currently, she is working on an illustrated book about The Society for Research on Rapport and Telekinesis (SORRAT), one of the most exotic cases within the history of psychical research.Source: www.shannontaggart.com As a teenager, photographer Shannon Taggart was introduced to the world of spiritualism after a medium told her cousin details about her grandfather’s death that proved to be true. The reading had taken place at the Lily Dale Assembly in New York, the world’s largest spiritualist community. Curious but with reservations, Taggart headed to Lily Dale to delve into the history of spiritualism thinking she would learn what all the tricks of the trade were, but she didn’t end up getting the explanations she thought she would. Instead, she discovered a mysterious world she began to document with her camera. She certainly wasn’t the first photographer to do this, as spiritualism and spiritualist photography have long been connected. Both surfaced in the mid-1800s in Rochester, N.Y.,—home of Kodak. At the time, spiritualists naturally gravitated toward this new technology in hopes of recording what they had been experiencing. One of the most well-known spiritualist portraits of this era purports to show the ghost of President Abraham Lincoln with his hand placed nonchalantly on the shoulder of his wife, Mary Todd Lincoln. When Taggart first began taking photos at Lily Dale, she remained an observer. After the first year, she became involved as a student and a participant while continuing her photography. Although at first she had a hard time understanding spiritualism, Taggart was curious and said she has since experienced numerous mysterious experiences that have helped her tap into her own creative process. One of these inexplicable events occurred during one of her first visits to the Lily Dale Museum. Taggart said that a large purple orb appeared on the shoulder of a woman she was photographing, but she wasn’t shooting into the sun. “When I brought a copy back for her, she calmly said, ‘Oh, that’s Bob,’ her deceased husband. She was thrilled with the picture,” Taggart said. Taggart was also interested in physical mediumship, which claims to involve perceptible manifestations—such as loud raps or voices—and is practiced outside the New York community. While at Lily Dale, she met a medium who suggested she visit England, where, along with other parts of the United Kingdom and Europe, a “new age of physical mediumship” was happening. Taggart said one of the strangest things she witnessed happened during the mediumship of Gordon Garforth, a deep trance and physical medium in Stansted, England. Garforth told Taggart that his hands enlarge during his séances. About 20 minutes into one, Garforth’s wife, who operates as his “spirit control,” said that the spirits were going to work with his hands. While seated under a dim red light, Garforth held out his hand to Taggart. “Unbelievably to me, it seemed to effortlessly stretch, and the entire hand became large, instantly. I gasped and yelled ‘Oh my God!’ ” Taggart remembered. She said that the 30 other people in the room also reacted with amazement; she worried the experience was merely “hypnotic” and that her camera, set to one-second exposures, wouldn’t capture the growth. “The photographs made seem to confirm a distorted large hand … I was able to sit with Gordon on two additional occasions and I saw the same thing,” Taggart said. While some of her experiences struck Taggart as downright supernatural, some of her images were more straightforward, including her photo of bent spoons. It may not come as a surprise to learn the spiritualists bend them with their hands as a sort of symbolic connection to what they believe to be possible. “It is taught as an exercise of the power of the mind, a physical example of our ability to do things that seem impossible,” said Taggart of her most asked-about image.Source: Slate
Roy Stryker
United Kingdom
1893 | † 1975
Roy Emerson Stryker was an American economist, government official, and photographer. He headed the Information Division of the Farm Security Administration (FSA) during the Great Depression, and launched the documentary photography program of the FSA. It hired photographers to travel across the United States and document people in different areas and settings as part of showing the state of people in rural areas in those years. Specific projects were conceived to help assess effects of government programs. He later worked several years on a documentary project for Standard Oil, established the Pittsburgh Photographic Library (PPL), consulted with other companies, and taught photo-journalism at University of Missouri. In his later years he returned to the West, living at last in Colorado. After serving in the infantry in World War I, Stryker went to Columbia University, where he studied economics. He used photography to illustrate his economics texts and lectures. At Columbia, he worked with Rexford Tugwell. When Tugwell became part of Franklin D. Roosevelt's Resettlement Administration, Stryker followed him. Tugwell and Stryker refocused the attention of the Resettlement Administration to document the problems of the heartland, and in 1935 Stryker became the head of the Historical Section (Information Division) of the RA. The RA was renamed as the Farm Security Administration, and Stryker set up the photo-documentary project. Stryker was a manager of the FSA's photographic project. The photographers involved attested to his skill in getting good work from them. He ensure that the photographers were well briefed on their assigned areas before being sent out, and that they were properly funded. However, Stryker has been criticized for his destructive editing, as he would sometimes physically deface negatives by punching holes in them. Stryker also made sure that mainstream publications had access to FSA photographs. This both helped focus public attention on the plight of the rural poor and set up the commercial careers of his photographers. Overall, from 164,000 developed negatives, some 77,000 different finished photographic prints were made for the press, plus 644 color images. Photographers hired by Stryker for the FSA included Dorothea Lange, Arthur Rothstein, Walker Evans, Ben Shahn, John Vachon, Marion Post Wolcott, Russell Lee, Jack Delano, Gordon Parks, John Collier, Carl Mydans, and Edwin and Louise Rosskam. During World War II, the photographic unit of the FSA was reassigned to the Office of War Information. It was used to produce what was essentially propaganda and disbanded after a year. At the same time, the US Congress disbanded the FSA. The holdings of the FSA's photographic unit were transferred to the Library of Congress. Stryker resigned from the government. He worked for Standard Oil in its public relations documentary project from 1943 to 1950, hiring some of the photographers he had worked with at FSA. In selecting photographers for projects at Standard Oil (SO), Stryker sought those who possessed what he described as an "insatiable curiosity, the kind that can get to the core of an assignment, the kind that can comprehend what a truck driver, or a farmer, or a driller or a housewife thinks and feels and translate those thoughts and feelings into pictures that can be similarly comprehended by anyone." Photographers on the SO project included, among others: Berenice Abbott, Gordon Parks and Todd Webb; as well as Esther Bubley, Harold Corsini, Russell Lee, Arnold S. Eagle, Elliott Erwitt and Sol Libsohn, who would later follow Stryker to his next project in Pittsburgh, Pennsylvania. After suggesting topics he wanted to be documented, Stryker gave his photographers the freedom to pursue their individual approaches to their subjects. As with all his projects, Stryker was adamant that his staff understand their subjects and their context before going out on an assignment. From 1950 to 1952, Stryker worked to establish the Pittsburgh Photographic Library (PPL). In 1960, the collection was transferred to the Carnegie Library of Pittsburgh. After leaving the PPL, Stryker directed a documentation project at Jones & Laughlin Steel Corporation. Thereafter, he accepted consulting jobs on occasion and conducted seminars on photo-journalism at the Journalism School of University of Missouri. Stryker eventually returned to the West in the 1960s. He died in Grand Junction, Colorado. The Roy Stryker Papers, including manuscripts, correspondence, and vintage prints from the Stryker-directed projects: Farm Security Administration (FSA), the Standard Oil (New Jersey) Co. and Jones & Laughlin Steel, are held in Photographic Archives, Archives and Special Collections, University of Louisville.Source: Wikipedia
Rogan Coles
South Africa/United Kingdom
1954
I was born in 1954. Photography is what I do. The stories lie therein. In presenting this body of work I want to explore something that is often overlooked - as in the intrinsic value of photography. As one of his mantras, Jack Ma, the founder and now former CEO of Alibaba and a person whose tenacity I admire, said this, "I always look 10 years ahead". While I'm not going to suggested that this is what I do with my photography or when I am about to embark on a project. But and quite often, there's something prescient in what I do and how I approach my work as a photographer. When I set out to document Smithfield Market in London, this is more or less what happened. Besides all the talk of closing down the market, there were suggestions that the market was going to be refurbished and, in the process, brought up to European Union health standards. At around this time, I used to take a short cut through the market's precinct as I walked from one side of the city to the other. Of course, during the day, there was nothing there. Well, let me qualify, there were no people there. Working hours were from just around midnight until the early hours of the morning. With these various stories doing the rounds, I wanted to investigate. In the process I made contact with the market's management. As a result, I was granted to two week window to document the market and the activities there. This was back in April of 1991. Yes, nearly 30 years ago. This is what I mean, the "intrinsic value of photography". I don't know what these images are worth. I have never exhibited them or ever had them published in any form. No real reason. Then as now, perhaps I didn't have a compelling enough story that publications or curators could buy into. "Intrinsic value" is not going to see this work through to anything significant. Perhaps something like "British working class heroes", "End of an era" or "Times are a changing" may have done it. But, we live on in hope. I have long admired photography of Vivien Maier and see her work in much the same way - and that is, for its intrinsic value. Through her work, Maier more or less defined the Chicago of a particular era. Another photographer's work who I much admire is Max Yavno. Again, the strength of his work lies in its intrinsic value. Through his work, he more or less defined Los Angeles and San Francisco of an era and, to some degree, Cairo. His work is iconic - just as is Maier's.
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