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LAST CALL TO Win a Solo Exhibition in July 2026 + An Exclusive Interview!
LAST CALL TO Win a Solo Exhibition in July 2026 + An Exclusive Interview!
Esmeralda Ruiz
Esmeralda Ruiz
Esmeralda Ruiz

Esmeralda Ruiz

Country: United States

Artist Statement: "My childhood was different then most. Growing up with nothing but artists was one thing, but having actually flat lined during a surgery after being diagnosed with a kidney infection changed my life forever. It wasn’t that it left me weak or prevented me from going outside and playing or even going to school with other children but the images that I saw when that moment occurred is what I strive to show in my work today.

A wonderful world where the air was crisp and refreshing, with all of its flowers in bloom, my journey begins down a path with little yellow homes on each side. Beyond the path, a valley flowers appeared. On the right there were rocky mountains so enormous that clouds covered their midsection with their snow covered summits peering through. To my left the sound of the ocean was relentlessly crashing into a cliff. As I crossed my valley of flowers and ascended the cliff, I felt a cool yet, strong breeze off the ocean forcing me back. As I looked up into the vast skies above, I was overcome by the ever so omnipotent clouds with their glorious rays of sunlight beaming through. The feeling of leaping into the breeze and flying towards the light was more then overwhelming. Instead, I greeted it with a smile and made my way back to the valley. Relaxed, laying across its delicate wild flowers, my tranquil body curled up and fell into a deep sleep. Awaking to my mother at my bedside, disappointment overcame me with the realization that it was all just a dream.

Weeks passed, the pain healed but my dream still reigned true. Numerous sketches and endless rants of my new world was all that was real. Having to transition from a world of such perfection to a life of obscurity seemed almost inconceivable. As such, a minor state of depression would set in as my life slowly began to drift back into its regular routine. During this time my only solace came from the amazing work found in books from various art movements and even my favorite childhood cartoons. However, as my healing process dragged on, much of what I know about color (and how I use it today) came from all the extra time spent in my parent’s studio. Watching them work and being surrounded by various mediums helped better understand art as a form of expression. This would inevitably forge my desire to show the world what I had experienced on that fateful day.

As the years pass, my dream still lives within me. My thesis project has only driven my need to share my moment with the world in ways I never thought possible. After much soul searching and numerous critiques, I have come to the realization that my utopia isn’t just a dream; it is in the landscapes that have always surrounded me. Those three minutes had and will always have a tremendous impact on my life. If anything, I learned how fragile life is and to always appreciate the beautiful things in life. Photography has allowed me to show what stands out in my eyes by glorifying it in a photograph. It is the best way that I can communicate what I saw and what I felt at that particular moment. It is the bridge between my past and my present.

Source: Esmeralda Ruiz Website

 

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More Great Photographers To Discover

Jaromír Funke
Czech Republic
1896 | † 1945
Jaromír Funke (1896–1945) was a Modernist photographer and a leading figure in Czech photography during the 1920s and 30s. He was born in Skute? to a wealthy family. He studied medicine, law, and philosophy at the Charles University in Prague and the University of Bratislava but did not graduate and instead turned to photography. Funke was recognized for his play of “photographic games” with mirrors, lights, and insignificant objects, such as plates, bottles, or glasses, to create unique works. His still life’s created abstract forms and played with shadows looking similar to photograms. His work was thought to be logical, original and expressive in nature. A typical feature of Funke’s work would be the "dynamic diagonal." By the 1920s, Funke had become an amateur photographer and began to experiment with constructivism, surrealism, poeticism, and expressionism. He created unconventional works as a form of “pure” photography instead of the traditional reminiscing of other mediums such as painting or sculpture. During his photography profession, Funke published editorials and critiques about photography. By 1922, Funke had become a skilled freelance photographer and two years later he, Josef Sudek and Adolf Schneeberger created the Czech Photographic Society. From 1931-1935, Funke headed the photography department at the School of Arts and Crafts in Bratislava. Soon after, Funke taught at the School of Graphic Art in Prague until 1944. Alongside Ladislav Sutha, the director of the previous school, Funke published Fotografie vidí povrch in 1935. While travelling, Funke became interested in politically engaged photography. Bad living was created during the time period of 1930-1931 and was a photographic series that dealt with the issues of poverty. Funke later became an editor of the journal Fotografický obzor (Photographic Horizons) for several years. He published a number of works including Od fotogrameuk emoci which is understood to be his manifesto. As travelling was limited during World War 2 in 1939, Funke photographed close to home in Louny, Prague and sometimes Kolin. On March 22, 1945 in Kolin, Funke required an immediate operation for intestine damage but the procedure could not be executed as it was during an air raid alarm and he died.Source: Wikipedia Jaromír Funke (1896–1945) studied medicine, law and philosophy at Charles University in Prague but did not graduate. Instead he concentrated on becoming a professional freelance photographer. By 1922 he was a leader of the young opposition movement in photography and a founder of the Czech Society of Photography (1924) whose mission was to create photography that would fulfil new social functions. In his work Funke managed to combine some of the leading trends in modernist European photography, uniting constructivism and functionalism with surrealism and social commentary, with traditional Czech aesthetics. His interest in modernist ideas led him to make clearly focused studies of simple objects. As the decade progressed, he turned to the production of carefully arranged still lifes emphasizing abstract form and the play of light and shadow. During this time he also produced several important series of photographs, including two inspired by the images of Eugène Atget: Reflexy (Reflections, 1929) and as trvá (Time Persists, 1930-34). Funke was also influential as a teacher, first at the School of Arts and Crafts, Bratislava (1931-34/35), which followed a Bauhaus-inspired curriculum, and then at the State School of Graphic Arts, Prague (1935-44). While in Bratislava, he became interested in social documentary photography and joined the leftist group Sociofoto, which was concerned with recording the living conditions of the poor. Throughout his career Funke published articles and critical reviews dealing with photography. From 1939-41 he worked with Josef Ehm to edit the magazine Fotografik obzor (Photographic Horizon).Source: Howard Greenberg Gallery
Anita Conti
France
1899 | † 1997
Anita Caracotchian was born in Ermont in Seine-et-Oise to a wealthy Armenian family. She spent her childhood being educated at home by different tutors and travelling with her family, gradually developing a passion for books and the sea. After moving to Paris, she concentrated on writing poems and the art of book binding. Her work got the attention of celebrities and she won different awards and prizes for her creativity in London, Paris, New York and Brussels. In 1927, she married a diplomat, Marcel Conti, and started traveling around the world, exploring the seas, documenting and reporting what she saw and experimented. Spending time on the fishing boats for days and even months on certain occasions gave her a deeper understanding of the problematic faced by the fishermen. In between the two world war, she developed the technique of fishing maps apart from the already used navigational charts. For two years, from one vessel to another, she observed the French fishermen along the coast and Saharan Africa discovering fish species unknown in France. She published many scientific reports on the negative effects of industrial fishing and the different problems related to fishing practices. From 1943 and approximately for 10 years, she studied in the Mauritian islands, Senegal, Guinea and Ivory Coast, the nature of the seabed, different fish species and their nutritional values in regards of protein deficiency for the local populations. Gradually, she developed better preservation techniques, fishing methods and installed artificial dens for further studies. She even founded an experimental fishery for sharks. She became more and more conscientious of the misuse of natural resources by the fishing industry and the major waste that could be prevented. In 1971 she published L’Ocean, Les Betes et L’Homme, to denounce the disaster that men create and its effects on the oceans. Through many conferences and forums and for the rest of her life, she advocated for the betterment of the marine world. She died on 25 December 1997 in Douarnenez.Source: Wikipedia Born in 1899, Anita Conti was recruited in 1935 by French Fisheries Authorities to conduct scientific experiments at sea and to assess fish resources. In 1941 she embarked on a trawler bound for Western Africa and spent the next ten years exploring the mangrove swamps between Senegal and the Ivory Coast, observing and assessing the techniques of traditional fishermen, meeting with local elders, establishing new fisheries... The hair-raising account of her attempts at catching the "Giants of the warm seas", such as sawfish and sharks, bears witness to her intrepid nature. Yet one can also feel her strong desire to contribute to a worthwhile cause. Exploring the swamps is not seen as an unilateral exploitation of African resources by Europeans : it is a genuine attempt at sharing knowledge. Source: aflit.arts.uwa.edu.au Born just before the 20th century started, Anita Conti represents a piece from the past. During her teenage years, she developed a passion for books and sea and started photography in 1914. Indeed, for almost a hundred years, she has been gathering more than 40,000 photographies. Anita was what we can call today an engaged pioneer. Recruited by French Fisheries Authorities to conduct scientific experiments at sea and to assess fish resources, she was the first french female oceanographer. In 1939, she's been the first woman to embark in the service of the National French Navy, and, thus, became the first woman to work on a military ship in wartime. In charge of developing a new technique for fishing maps, she embarked on a trawler bound for western Africa in 1941. During 10 years, she explored the West African coasts, from the Mauritian islands to Senegal and from Guinea to Ivory Coast. She insured a resupply program for the population and the French army. Her goal was to save population from hunger and find nutritional solutions in regards of their protein deficiency. During a decade, she travelled the world, explored the seas, documented and scientifically reported the negative effects of industrial fishing. "To be able to exploit the sea, you must enter into the sea" she used to say. Her African experience helped her to denounce the impacts of plundering the oceans and the major waste of marine resources. "Seas are under threat" she claimed. She tried to find fishing methods like fish farming to avoid overfishing.Source: Panthalassa
Burk Uzzle
United States
1938
Burk Uzzle is an American photojournalist, previously member of Magnum Photos and president from 1979 to 1980. Burk Uzzle has spent his life as a professional photographer. Initially grounded in documentary photography when he was the youngest contract photographer hired by Life magazine at age 23, his work continues to reflect the human condition. For sixteen years during the 1970s and 1980s, he was an active contributor to the evolution of Magnum and served as its President in 1979 and 1980. While affiliated with the cooperative, he produced the iconic and symbolic image of Woodstock (showing Nick Ercoline and Bobbi Kelly hugging), helped people grasp an understanding of the assassination and funeral of Dr. Martin Luther King Jr., and powerfully projects comprehension of what it means to be an outsider - from Cambodian war refugees to disenfranchised populations without voice or agency to portraits of communities not identified on a roadmap. His life, philosophy, and continuing work was explored in the critically acclaimed 2020 documentary feature film F11 and Be There by director Jethro Waters. His archive spans more than six decades and captures much of the history of analog and digital photography. His current bodies of work rest deep in issues of social justice. A dozen years ago, Uzzle returned to North Carolina and now lives and works in two-century-old industrial buildings located in downtown Wilson not far from where he was born.Source: Wikipedia Burk Uzzle’s career, like his pictures, is a nuanced composition blending American culture, individual psyches of particular places and people, and an atypical way of seeing ourselves, our values, and our community. Always respectful yet locating the poignant or quirky, the history of his narrative belongs to all of us. Initially grounded in documentary photography when he was the youngest photographer hired by LIFE magazine at age 23, his work grew into a combination of split-second impressions reflecting the human condition during his tenure as a member of the prestigious international Magnum cooperative founded by one of his mentors Henri Cartier-Bresson. For 15 years, Uzzle was an active contributor to the evolution of the organization and served as its President in 1979 and 1980. During the 16 years, he was associated with Magnum, he produced some of the most recognizable images we have of Woodstock (album cover and worldwide reproduction of its iconic couple hugging at dawn) to the assassination and funeral of Martin Luther King Jr. to our comprehension for the experience of Cambodian war refugees. His archive spans almost six decades. His current work rests deep in photographic appreciation of the quiet, strong, and eloquent beauty he discovers in America’s small towns and its people. It is along small back roads, limned with feelings and a surety of surprise for the heart wide open, that continue to support his understanding of how America keeps its personality out on a limb. Uzzle’s current bodies of work are artful and constructed reflections of his subjects, many of whom are African-American residents proximal to his studio in North Carolina — a 100-year-old industrial building that hosted the production of automobiles to the manufacture of caskets. Their shared layers of experience are representatives of the now. In this space, individual transcendence offers history a look at contemporary life. Conjoined with Uzzle’s fundamental appreciation for unseen characteristics, he ably captures each in a collaborative, interpretive context with his eye and his heart. On the road and between the walls, his hope is for a graphic presentation of something universal within the particular, and all the better when involving a gentle chuckle and knowing smile.Source: www.burkuzzle.com
Charles Marville
France
1813 | † 1879
Charles Marville, the pseudonym of Charles François Bossu (Paris 17 July 1813 - 1 June 1879 Paris), was a French photographer, who mainly photographed architecture, landscapes and the urban environment. He used both paper and glass negatives. He is most well known for taking pictures of ancient Parisian quarters before they were destroyed and rebuilt under "Haussmannization", Baron Haussmann's new plan for modernization of Paris. In 1862, he was named official photographer of Paris. Marville's past was largely a mystery until Sarah Kennel of the National Gallery of Art and independent researcher Daniel Catan discovered that Marville's given name was Charles-François Bossu. That newly-found association allowed them to discover a variety of biographical information, including photographs of his family, that had been considered lost to time. Bossu was born in 1813 in Paris. Coming from an "established" Paris family, he trained as a painter, illustrator and engraver. He assumed the pseudonym Charles Marville around 1832, and began working in his field. After 17 years, as an illustrator, he took up photography around 1850. He had no family, but a long-time companion was included in his will. He died in 1879 in Paris.Source: Wikipedia Charles Marville was commissioned by the city of Paris to document both the picturesque, medieval streets of old Paris and the broad boulevards and grand public structures that Baron Georges-Eugène Haussmann built in their place for Emperor Napoleon III. Marville achieved moderate success as an illustrator of books and magazines early in his career. It was not until 1850 that he shifted course and took up photography - a medium that had been introduced just 11 years earlier. His poetic urban views, detailed architectural studies, and picturesque landscapes quickly garnered praise. Although he made photographs throughout France, Germany, and Italy, it was his native city - especially its monuments, churches, bridges, and gardens - that provided the artist with his greatest and most enduring source of inspiration. By the end of the 1850s, Marville had established a reputation as an accomplished and versatile photographer. From 1862, as the official photographer for the city of Paris, he documented aspects of the radical modernization program that had been launched by Emperor Napoleon III and his chief urban planner, Baron Georges-Eugène Haussmann. In this capacity, Marville photographed the city’s oldest quarters, and especially the narrow, winding streets slated for demolition. Even as he recorded the disappearance of Old Paris, Marville turned his camera on the new city that had begun to emerge. Many of his photographs celebrate its glamour and comforts, while other views of the city’s desolate outskirts attest to the unsettling social and physical changes wrought by rapid modernization. Haussmann not only redrew the map of Paris, he transformed the urban experience by commissioning and installing tens of thousands of pieces of street furniture, kiosks, Morris columns for posting advertisements, pissoirs, garden gates, and, above all, some twenty thousand gas lamps. By the time he stepped down as prefect in 1870, Paris was no longer a place where residents dared to go out at night only if accompanied by armed men carrying lanterns. Taken as a whole, Marville’s photographs of Paris stand as one of the earliest and most powerful explorations of urban transformation on a grand scale.Source: Howard Greenberg Gallery
Neşe Arı
Turkey
1980
Neşe Arı is an independent artist based in Istanbul, who has transformed photography into a powerful means of personal expression. Immersed in the world of photography for over fifteen years, Arı focuses on capturing the simple yet profound moments of everyday life. Working primarily in documentary, travel, and street photography, she draws attention to human stories, emotions, and the often unseen details of life. Her photographs invite the viewer to witness small but meaningful fragments of time. Her artistic approach is built on sincerity, simplicity, and a strong narrative voice. Particularly passionate about social responsibility projects, she gained recognition through her long-term project "Yaşamda Kal" ("Stay Alive"), which sheds light on the life journeys of individuals overcoming physical disabilities. Through this project, she aims to highlight the strength and resilience of people who reclaim life through sports. Neşe Arı’s work has been exhibited in numerous shows across Turkey and internationally, and has been published in renowned outlets such as The Times, The Daily Telegraph, and The Guardian. In 2016, she was awarded the EFIAP distinction by the International Federation of Photographic Art (FIAP). Her photographs have also been featured in major international projects such as "Women's Cry", "Changes", and "Open Doors", and her work has been showcased in exhibitions in the Vatican and many other countries. For Neşe Arı, every journey and every new face represents a story waiting to be told. She continues to use her camera as a tool to create photographs that touch lives, provoke thought, and evoke deep emotions. Artistic Vision: As Neşe Arı, I aim to make the simple yet profound moments of life visible. I use photography as a language to touch human stories, reveal emotions, and uncover the hidden beauty of everyday life. With each frame, I strive to create an impact that invites the viewer to reflect, feel, and connect with the essence of existence. By emphasizing sincerity, simplicity, and the strength of the human spirit, I seek to preserve and celebrate the diverse faces and stories of life.
Mauro De Bettio
Alice De Kruijs
The Netherlands
1981
Alice de Kruijs is a fine-art photographer based in The Netherlands. She frequently touches the subject of identity and diversity and aims to go against the standard ideals and showcase stories through culture and different ethnic backgrounds, her work is a celebration of these differences in culture. As her way of life, she loves to conceptually and symbolically tell stories. Usually by showing a different perspective on personal daily life struggles. Born in 1981 in the east of The Netherlands she grew up in an artistic family. Nevertheless her true artistic passion in photography started in her late twenties. After graduating from Internation Fashion Design and later on from Applied Photography Design with a specialisation in Fine-art portraits she dedicated her life to conceptual photography. In her early thirties she gradually moved to fine-art photography in combination with story telling photography. Family Member(s) In this serie I honour my beloved grandmother. She has been a friend and inspiration my entire life. Although she passed away in 1994, when I was just 13 year old my memories are vibrant. This year (2020), August 2nd she would have celebrated her 100th birthday. On this day, I have publish the complete body of work existing of 18 images plus 10 original images. In some images, I copied the old photo from our family photo books. The story starts with an images from my great grandma before and after pregnancy of her 5 children (see family picture), following with an image of my grandmother at age 3. It continues with images of her when she was a young teenager and as a young adult just before World war II. During the war, not many pictures were taken of her. The first image after WWII is the marriage photo. She struggled with a lot of miscarriages in the late 1940's but finally my father was born in May 1950, I would be her only child. During the 1980's she started having breast cancer and later on bone cancer. After many years trying to fulfill life as much as possible, she died from bone bone cancer at age 74. The last image represents her death. As this is a very personal project and shot during COVID 19 period I only photographed myself or my direct family members for the duo image. This created an even stronger bound. This serie is dedicated to Jeanne Margaretha de Kruijs - Slotboom 02/08/1920 - 14/01/1994
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