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Win a Solo Exhibition in July 2026 + An Exclusive Interview!
Win a Solo Exhibition in July 2026 + An Exclusive Interview!
Gautam Narang
Gautam Narang
Gautam Narang

Gautam Narang

Country: United Kingdom
Birth: 1984

I found photography by mistake, when doing my GCSE, I was sitting in the study room, then heard a teacher describe the subjects they taught at the school. As he was going through the subjects, he mentioned photography. I thought to myself was this a subject? Photography! It's so easy, all you do is click (How, wrong I was, how very wrong) *sigh*. As a child I used to play around with cameras. I always looked through them as was interested In them. So I sat in the lesson and was very enthusiastic to start a creative art. The journey had begun. One of the first subjects I started to picture was boats .....mmm yes boats. I lived near a canal and started to photograph boats. I don't know why I picked boats, it's quite sad when I look back, but that was one of my subjects. I took thousands of photographs, trying to make the subjects look Interesting. I remember one day I took all my photographs and filled up a whole table. The obsession had started but I hadn't known. Pictures now filled my room. From the start I always wanted to show my best. I would keep a box of my best photographs and then throw away all the one's I didn't like. I always feel the next picture is my favorite picture, wanting to create new work. As I progressed through my studies, I became distracted. There were so many subjects to do and I tried them all. One week I was doing art of history, then chemistry. I then dropped them all and just focused on photography. To this day, I follow photography. I have learned a lot but I am still confused on what to do next. I love what I do, but everybody tells me go into other things. Photography is more than clicking a button. From my first trip In India I have learned more about life then I would from anything. It teaches you to look, understand and observe rather then just walk away.


All about Gautam Narang:

AAP: When did you realize you wanted to be a photographer?
Well after high school, I pretty much knew that is something that I’ve wanted to do, and it’s pretty much all that I’ve pictured myself doing. I’ve tried office jobs, but they usually don’t work, for example being an assistant was not a great experience. Order wold be forgotten and i’m not a office type or person, the stress kills me. So i’ve always gratiated to something creative.

AAP: Where did you study photography?
I studied at HND Photography at City and islington. Was the youngest student, out of the program my closet friend was Robert Harper who does amazing fashion photography. We used to chill and take pictures, it was really nice experience. Education to me, especially in the arts isn’t what i’ve expected it to be. The real learning happens when your out of school, and making friends with like minded pepole, finding who you are, I know it sounds like a really simple question, but you get asked “Who are you? What is your favorite movie? Favorite Artist and etc.” These days things are getting competitive and to really stand out is to have strong connections with people.

AAP:Do you have a mentor?
Yes, the teacher at my school. He was in 60’s and was my best friend, he taught me a lot on business, being an artist, encouraged me, let me use his studio and gave experience in the studio with while doing still life photography. He would also make all his own equipment, was really cool learning from him. My other mentor was Jasper James, he introduced me to style. He showed me that movies could be arty, before that I didn’t really watch any arty stuff. We also traveled around the UK on projects and that was a lot of fun.

AAP: How long have you been a photographer?
12 years.

AAP: Do you remember your first shot? What was it?
They were pictures of cannel boats, in England I used to live near a cannel.

AAP: What or who inspires you?
Well Edward Hooper is a great inspiration. His images feel like movie scenes, they have such a powerful mood to them. Artist have always inspired me. William Eggleston is someone would really inspires me.

AAP: How could you describe your style?
As simple and bold. I’m a huge fan of bold colors and like to keep things simple.

AAP: What kind of gear do you use? Camera, lens, digital, film?
I use the Canon 5D Mark II and my iPhone 4, it’s great, you can take it anywhere and pepole aren’t imitated by it, you look like a tourist. The iPhone has a look, in 20 years when we have images that are so sharp that you can’t tell if your looking at something real. Images from are primitive cameras and mobile devices will be called “Retro” they come with a time stamp, the actually medium is a time capsule. It’s not about the quality, it’s about the message, that will last longer.

AAP: Do you spend a lot of time editing your images?
I’m not a fan of editing, i’ve never liked it, only the darkroom.

AAP: Favorite(s) photographer(s)?
Steve McCurry, Willam Eggleston, Dorothea Lange.

AAP: What advice would you give a young photographer?
Go out and find your own vision, and all this likes and things mean nothing. It’s hard putting yourself out there, and pepole don’t usually respond. You start to want to appeal to others and worry if you posting to much. Do it for yourself, who cares about all this fame? Who knows if these websites will be around, this data? One day, you might be recognized.

AAP: What mistake should a young photographer avoid?
Don’t point fingers, point them at yourself first. Don’t blame others, really look at yourself first.

AAP: An idea, a sentence, a project you would like to share?
My work is constantly changing and I like that. To keep evolving you need to keep changing.

AAP: Your best memory has a photographer?
Working on location in India, working in a old Indian palace, documenting Indian folk singers. It’s an experience the kings once enjoyed.

AAP: Your worst souvenir has a photographer?
A broken camera lens.

AAP: If you could have taken the photographs of someone else who would it be?
Steve McCurry he has my dream job

AAP: Anything else you would like to share?
I’m into film making now, really want to be a DOP or camera operator. Currently i’m based in Toronto.
 

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Alfred Stieglitz
United States
1864 | † 1946
Through his activities as a photographer, critic, dealer, and theorist, Alfred Stieglitz had a decisive influence on the development of modern art in America during the early twentieth century. Born in 1864 in New Jersey, Stieglitz moved with his family to Manhattan in 1871 and to Germany in 1881. Enrolled in 1882 as a student of mechanical engineering in the Technische Hochschule (technical high school) in Berlin, he was first exposed to photography when he took a photochemistry course in 1883. From then on he was involved with photography, first as a technical and scientific challenge, later as an artistic one. Returning with his family to America in 1890, he became a member of and advocate for the school of pictorial photography in which photography was considered to be a legitimate form of artistic expression. In 1896 he joined the Camera Club in New York and managed and edited Camera Notes, its quarterly journal. Leaving the club six years later, Stieglitz established the Photo-Secession group in 1902 and the influential periodical Camera Work in 1903. In 1905, to provide exhibition space for the group, he founded the first of his three New York galleries, The Little Galleries of the Photo-Secession, which came to be known as Gallery 291. In 1907 he began to exhibit the work of other artists, both European and American, making the gallery a fulcrum of modernism. As a gallery director, Stieglitz provided emotional and intellectual sustenance to young modernists, both photographers and artists. His Gallery 291 became a locus for the exchange of critical opinions and theoretical and philosophical views in the arts, while his periodical Camera Work became a forum for the introduction of new aesthetic theories by American and European artists, critics, and writers. After Stieglitz closed Gallery 291 in 1917, he photographed extensively, and in 1922 he began his series of cloud photographs, which represented the culmination of his theories on modernism and photography. In 1924 Stieglitz married Georgia O'Keeffe, with whom he had shared spiritual and intellectual companionship since 1916. In December of 1925 he opened the Intimate Gallery; a month later Duncan Phillips purchased his first works from Stieglitz’s gallery, paintings by Dove, Marin, and O'Keeffe. In 1929 Stieglitz opened a gallery called An American Place, which he was to operate until his death. During the thirties, Stieglitz photographed less, stopping altogether in 1937 due to failing health. He died in 1946, in New York. The Collection contains nineteen gelatin-silver photographs of clouds by Stieglitz.Source: The Phillips Collection My photographs are a picture of the chaos in the world, and of my relationship to that chaos. My prints show the world’s constant upsetting of man’s equilibrium, and his eternal battle to reestablish it. -- Alfred Stieglitz In early June 1918, O'Keeffe moved to New York from Texas after Stieglitz promised he would provide her with a quiet studio where she could paint. Within a month he took the first of many nude photographs of her at his family's apartment while his wife Emmy was away, but she returned while their session was still in progress. She had suspected something was going on between the two for a while, and told him to stop seeing her or get out. Stieglitz left and immediately found a place in the city where he and O'Keeffe could live together. They slept separately for more than two weeks, but by the end of July they were in the same bed together. Once he was out of their apartment Emmy had a change of heart. Due to the legal delays caused by Emmy and her brothers, it would be six more years before the divorce was finalized. During this period Stieglitz and O'Keeffe continued to live together, although she would go off on her own from time to time to create art. Stieglitz used their times apart to concentrate on his photography and promotion of modern art. O'Keeffe was the muse Stieglitz had always wanted. He photographed O'Keeffe obsessively between 1918 and 1925 in what was the most prolific period in his entire life. During this period he produced more than 350 mounted prints of O'Keeffe that portrayed a wide range of her character, moods and beauty. He shot many close-up studies of parts of her body, especially her hands either isolated by themselves or near her face or hair. O'Keeffe biographer Roxanna Robinson states that her "personality was crucial to these photographs; it was this, as much as her body, that Stieglitz was recording." In 1920, Stieglitz was invited by Mitchell Kennerly of the Anderson Galleries in New York to put together a major exhibition of his photographs. In early 1921, he hung the first one-man exhibit of his photographs since 1913. Of the 146 prints he put on view, only 17 had been seen before. Forty-six were of O'Keeffe, including many nudes, but she was not identified as the model on any of the prints. In 1922, Stieglitz organized a large show of John Marin's paintings and etching at the Anderson Galleries, followed by a huge auction of nearly two hundred paintings by more than forty American artists, including O'Keeffe. Energized by this activity, he began one of his most creative and unusual undertakings – photographing a series of cloud studies simply for their form and beauty. He said: "I wanted to photograph clouds to find out what I had learned in forty years about photography. Through clouds to put down my philosophy of life – to show that (the success of) my photographs (was) not due to subject matter – not to special trees or faces, or interiors, to special privileges – clouds were there for everyone…" By late summer he had created a series he called "Music – A Sequence of Ten Cloud Photographs". Over the next twelve years he would take hundreds of photographs of clouds without any reference points of location or direction. These are generally recognized as the first intentionally abstract photographs, and they remain some of his most powerful photographs. He would come refer to these photographs as Equivalents. Stieglitz's mother Hedwig died in November 1922, and as he did with his father he buried his grief in his work. He spent time with Paul Strand and his new wife Rebecca (Beck), reviewed the work of another newcomer named Edward Weston and began organizing a new show of O'Keeffe's work. Her show opened in early 1923, and Stieglitz spent much of the spring marketing her work. Eventually, twenty of her paintings sold for more than $3,000. In the summer, O'Keeffe once again took off for the seclusion of the Southwest, and for a while Stieglitz was alone with Beck Strand at Lake George. He took a series of nude photos of her, and soon he became infatuated with her. They had a brief physical affair before O'Keeffe returned in the fall. O'Keeffe could tell what had happened, but since she did not see Stieglitz's new lover as a serious threat to their relationship she let things pass. Six years later she would have her own affair with Beck Strand in New Mexico. In 1924, Stieglitz's divorce was finally approved by a judge, and within four months he and O'Keeffe married in a small, private ceremony at Marin's house. They went home without a reception or honeymoon. O'Keeffe said later that they married in order to help soothe the troubles of Stieglitz's daughter Kitty, who at that time was being treated in a sanatorium for depression and hallucinations. For the rest of their lives together, their relationship was, as biographer Benita Eisler characterized it, "a collusion ... a system of deals and trade-offs, tacitly agreed to and carried out, for the most part, without the exchange of a word. Preferring avoidance to confrontation on most issues, O'Keeffe was the principal agent of collusion in their union." In the coming years O'Keeffe would spend much of her time painting in New Mexico, while Stieglitz rarely left New York except for summers at his father's family estate in Lake George in the Adirondacks, his favorite vacation place. O'Keeffe later said "Stieglitz was a hypochondriac and couldn't be more than 50 miles from a doctor." The great geniuses are those who have kept their childlike spirit and have added to it breadth of vision and experience. -- Alfred Stieglitz At the end of 1924, Stieglitz donated 27 photographs to the Boston Museum of Fine Arts. It was the first time a major museum included photographs in its permanent collection. In the same year he was awarded the Royal Photographic Society's Progress Medal for advancing photography and received an Honorary Fellowship of the Society. In 1925, Stieglitz was invited by the Anderson Galleries to put together one of the largest exhibitions of American art, entitled Alfred Stieglitz Presents Seven Americans: 159 Paintings, Photographs, and Things, Recent and Never Before Publicly Shown by Arthur G. Dove, Marsden Hartley, John Marin, Charles Demuth, Paul Strand, Georgia O'Keeffe and Alfred Stieglitz. Only one small painting by O'Keeffe was sold during the three-week exhibit. Soon after, Stieglitz was offered the continued use of one of the rooms at the Anderson Galleries, which he used for a series of exhibitions by some of the same artists in the Seven Americans show. In December 1925, he opened his new gallery, The Intimate Gallery, which he nicknamed The Room because of its small size. Over the next four years, he put together sixteen shows of works by Marin, Dove, Hartley, O'Keeffe and Strand, along with individual exhibits by Gaston Lachaise, Oscar Bluemner and Francis Picabia. During this time, Stieglitz cultivated a relationship with influential new art collector Duncan Phillips, who purchased several works through The Intimate Gallery. In 1927, Stieglitz became infatuated with the 22-year-old Dorothy Norman, who was then volunteering at the gallery, and they fell in love. Norman was married and had a child, but she came to the gallery almost every day. O'Keeffe accepted an offer by Mabel Dodge to go to New Mexico for the summer. Stieglitz took advantage of her time away to begin photographing Norman, and he began teaching her the technical aspects of printing as well. When Norman had a second child, she was absent from the gallery for about two months before returning on a regular basis. Within a short time, they became lovers, but even after their physical affair diminished a few years later, they continued to work together whenever O'Keeffe was not around until Stieglitz died in 1946. In early 1929, Stieglitz was told that the building that housed The Room would be torn down later in the year. After a final show of Demuth's work in May, he retreated to Lake George for the summer, exhausted and depressed. The Strands raised nearly sixteen thousand dollars for a new gallery for Stieglitz, who reacted harshly, saying it was time for "young ones" to do some of the work he had been shouldering for so many years. Although Stieglitz eventually apologized and accepted their generosity, the incident marked the beginning of the end of their long and close relationship. In the late fall, Stieglitz returned to New York. On December 15, two weeks before his sixty-fifth birthday, he opened An American Place, the largest gallery he had ever managed. It had the first darkroom he had ever had in the city. Previously, he had borrowed other darkrooms or worked only when he was at Lake George. He continued showing group or individual shows of his friends Marin, Demuth, Hartley, Dove and Strand for the next sixteen years. O'Keeffe received at least one major exhibition each year. He fiercely controlled access to her works and incessantly promoted her even when critics gave her less than favorable reviews. Often during this time, they would only see each other during the summer, when it was too hot in her New Mexico home, but they wrote to each other almost weekly with the fervor of soul mates. In 1932, Stieglitz mounted a forty-year retrospective of 127 of his works at The Place. He included all of his most famous photographs, but he also purposely chose to include recent photos of O'Keeffe, who, because of her years in the Southwest sun, looked older than her forty-five years, in comparison to Stieglitz's portraits of his young lover Norman. It was one of the few times he acted spitefully to O'Keeffe in public, and it might have been as a result of their increasingly intense arguments in private about his control over her art. Later that year, he mounted a show of O'Keeffe's works next to some amateurish paintings on glass by Becky Strand. He did not publish a catalog of the show, which the Strands took as an insult. Paul Strand never forgave Stieglitz for that. He said, "The day I walked into the Photo-Secession 291 [sic] in 1907 was a great moment in my life… but the day I walked out of An American Place in 1932 was not less good. It was fresh air and personal liberation from something that had become, for me at least, second-rate, corrupt and meaningless." In 1936, Stieglitz returned briefly to his photographic roots by mounting one of the first exhibitions of photos by Ansel Adams in New York City. The show was successful and David McAlpin bought eight Adams photos. He also put on one of the first shows of Eliot Porter's work two years later. Stieglitz, considered the "godfather of modern photography", encouraged Todd Webb to develop his own style and immerse himself in the medium. The next year, the Cleveland Museum of Art mounted the first major exhibition of Stieglitz's work outside of his own galleries. In the course of making sure that each print was perfect, he worked himself into exhaustion. O'Keeffe spent most of that year in New Mexico. In early 1938, Stieglitz suffered a serious heart attack, one of six coronary or angina attacks that would strike him over the next eight years, each of which left him increasingly weakened. During his absences, Dorothy Norman managed the gallery. O'Keeffe remained in her Southwest home from spring to fall of this period. In the summer of 1946, Stieglitz suffered a fatal stroke and went into a coma. O'Keeffe returned to New York and found Dorothy Norman was in his hospital room. She left and O'Keeffe was with him when he died. According to his wishes, a simple funeral was attended by twenty of his closest friends and family members. Stieglitz was cremated, and, with his niece Elizabeth Davidson, O'Keeffe took his ashes to Lake George and "put him where he could hear the water." The day after the funeral, O'Keeffe took control of An American Place.Source: Wikipedia Image:All images © Library of Congress, Prints & Photographs Division, The Alfred Stieglitz Collection, Gift of Georgia O'Keeffe
Torrance York
United States
1966
This Fall Torrance York published her monograph, Semaphore, with Kehrer Verlag and exhibited her Semaphore project in a solo show at Rick Wester Fine Art, NYC. She earned a BA from Yale and an MFA in photography from RISD. York's recent awards include: selection for Atlanta Photography Group's Portfolio 2022 exhibit; Lenscratch 2021 Art & Science Awards, Honorable Mention; Critical Mass 2021 finalist; and semifinalist and Olcott award winner from The Print Center 95th ANNUAL International competition (2020). The monograph was recently awarded 1st place/book/monograph by the Lucie Foundation's International Photography Awards. Her work is in private and public collections, including AllianceBernstein, New York, NY; John & Sue Wieland Collection at the Warehouse, Atlanta, GA; and RISD, Providence, RI. York has had solo shows at Silvermine Galleries, New Canaan, CT; New Canaan Museum & Historical Society; and Southport Gallery, Southport, CT, among others. Her work has been exhibited at Littlejohn Contemporary, New York, NY; Griffin Museum of Photography, Winchester, MA; TILT, Philadelphia, PA; Schelfhaudt Gallery, University of Bridgeport, CT; Aldrich Contemporary Art Museum, Ridgefield, CT; and Center for Photography at Woodstock, NY. She was a resident artist at Anderson Ranch Arts Center in Snowmass Village, CO, and received a Connecticut Artist Fellowship grant in 2010. Semaphore Semaphore examines the shift in my perspective after having been diagnosed seven years ago with Parkinson's disease. Through images, I consider what it means to integrate this life-altering information into my sense of self. What does acceptance look like? Post diagnosis, everyday items and experiences take on new meaning. As I look around me, the branches of trees become networks of neurons or resemble tendons in my wrist imaged by an MRI. Simple tools now present a challenge. Acknowledging these signals facilitates the process of adaptation. Optimism holds the key for me right now. Connection inspires. Light, always an inspiration, illuminates a path for me to follow. And I go. Parkinson's disease is the world's fastest growing brain disorder. Currently, over ten million people live with Parkinson's worldwide. While this project is relevant to the Parkinson's community, it also connects with others whose journeys require growth, patience, and perseverance to move forward. Published by Kehrer Verlag, Semaphore has 96 pages, includes 67 images, and an essay by Rebecca Senf, PhD, Chief Curat
Julia Fullerton-Batten
Julia is a world-wide acclaimed and exhibited fine-art photographer. She has had portraits commissioned by the National Portrait Gallery, that are held in permanent collection. She is a winner of the HSBC Fondation pour la Photographie award and a Hasselblad Master. Her images are on the front covers of 'A Guide to Collecting Contemporary Photography' (Thames and Hudson, 2012) and Eyemazing Magazine. She is widely sought after as a judge for adjudicating at prestigious international photographic competitions and as a speaker at international events. The foundation of her success as a fine-art photographer was 'Teenage Stories' (2005), an evocative narrative of the transition of a teenage girl to womanhood. It portrays the different stages and life situations experienced by an adolescent girl as she grapples with the vulnerability of her teenage predicament – adjustments to a new body, her emotional development and changes in her social standing. Her book ‘Teenage Stories’ was published in 2007. This success was followed by other projects illuminating further stages a teenager experiences to becoming a woman - In Between (2009) and Awkward (2011). Julia freely admits to many of her scenes being autobiographical. This was even more so the case with her next project, Mothers and Daughters (2012). Here she based the project on her own experiences in her relationship with her mother, and the effects of her parents’ divorce. Unrequited love – A Testament to Love (2013) – completes Julia’s involvement with the female psyche, illustrating poignantly the struggles experienced by a woman when love goes wrong. Again there is no happy end, the woman is left with the despair of loneliness, loss and resignation. More recently, Julia has shot a series of projects where she has engaged with social issues. Unadorned (2012) takes on the issue of the modern Western society’s over-emphasis on the perfect figure, both female and male. For this project she sourced overweight models and asked them to pose in the nude in front of her camera against a backdrop similar to that of an Old Master’s painting, when voluptuousness was more accepted than it is now. ‘Blind (2013)’ confronts the viewer with a series of sympathetic images and interviews with blind people, some blind from birth, others following illness or an accident. Sight being one of mankind’s essential senses and her career being absolutely dependent on it, Julia hoped to find answers to her own personal situation if she were ever to become blind. Her most recent project, In Service (2014), exposes some of the goings-on behind the walls of the homes of the wealthy during the Edwardian era in the UK (1901 – 1911). Millions of poorer members of society escaped poverty by becoming servants in these homes, where it was not only hard work, but they were often subjected to exploitation and abuse. Julia’s very distinctive style of fine-art photography is epitomized by her use of unusual locations, highly creative settings, street-cast models, and accented with cinematic lighting. She insinuates visual tensions into her images, and imbues them with a hint of mystery, that combine to tease the viewer to re-examine the picture continuously, each time seeing more content and finding a deeper meaning with every viewing. Major events in which she has recently participated include Fotografiska, Stockholm; Noorderlicht, International Festival of Photography, Kristiansund, Norway; Dong Gang Photo festival, Korea; Daegu Photo Biennale, Korea; Museo Thyssen-Bornemisza and Fundacion Caja, Madrid; Pompidou Center, Paris; Shanghai International Photographic Art Exhibition; Hereford Photo Festival; The Museum of Contemporary Art Shanghai (MOCA Shanghai). Guest Speaker - National Geographic Seminar in Washington DC; Fotografiska, Stockholm, and Noorderlicht, Norway.
Vanessa Marsh
United States
1978
Vanessa Marsh is a visual artist working in Oakland, CA. Originally from Seattle, WA, her favorite pastimes are hiking in mossy forests and watching re-runs of NOVA. In 2002 she moved to San Francisco to go to grad school at California College of the Arts and earned her MFA two years later. She moved to Oakland in 2010 where she now lives with her boyfriend and two cats. Some of her favorite places to have exhibited her work include the Contemporary Jewish Museum in San Francisco, Dolby Chadwick Gallery in San Francisco, Foley Gallery in New York, and the Sun Valley Art Center in Ketchum, ID. She has spent time making work at the Headlands Center for the Arts, The MacDowell Colony, Kala Art Institute and was AIR at Rayko Photo Center. In the spring of 2018 she was an artist in residence at Jentel Foundation in Banner, WY. About The Sun Beneath the Sky "The Sun Beneath the Sky is a series of Lumen prints featuring imagined landscapes highlighted by soft glowing light. In the images, seen and unseen suns illuminate transparent layers of mountains and volcanoes creating dreamlike and atmospheric places. The Sun Beneath the Sky continues my use of cut paper, multiple exposures and dodging and burning techniques to create invented photographic landscapes. First cut paper masks traced from the silhouettes of real mountain ranges are layered on top of silver gelatin paper. The paper is then exposed to sunlight at intervals and then processed to fix the image. The resulting photographs are pastel and ethereal. Through this series I am reflecting upon the nature of light, atmosphere, geology and time." Read more about Falling
Antti Yrjönen
Finland
1992
Antti Yrjönen is a Finnish photojournalist and documentary photographer with over a decade of experience reporting internationally and at home. He works across media and humanitarian contexts, covering conflict, displacement and everyday life in places including Somalia, Syria, South Sudan and Ukraine, while also returning to stories closer to home. He is drawn to stories that can’t be understood in a single visit. Yrjönen revisits places, people and movements over time, building relationships without surrendering his position as a journalist. He works from a simple premise: you cannot photograph what you do not understand. That insistence on understanding shapes both his reporting and the way he edits, sequencing images to create clarity rather than noise. His photographs look for nuance and for the small details that hold a larger story in place, sometimes through quiet humour or a hint of the surreal. For Yrjönen, humour is not a distraction from difficult realities but part of them: a sign of life, especially in hard times. Alongside visual work, he writes on visual culture, journalism ethics, media critique and press freedom, and he occasionally lectures on responsible photojournalism and conflict reporting. His work has been published internationally by outlets including The New York Times, BBC, Le Temps, Bloomberg, Haaretz, Frankfurter Allgemeine Zeitung, Condé Nast Traveller, Helsingin Sanomat and Suomen Kuvalehti, and he has received multiple awards for his photography. He studied photojournalism at Tampere University and is currently developing a long-term book project on polycrisis at the intersection of conflict, climate change and food security. Statement "Photography is how I stay present. Being there matters, but so does being in the moment. I return to the same places and people because understanding takes time, and because you can’t photograph what you don’t understand. My work follows power up and down its chain, from policy rooms to street corners and back again, looking for the human consequences of politics, conflict and crisis. Sometimes a quiet humour slips in, not to soften reality, but to tell it honestly." Awarded Photographer of the Week - Week 05, 2026
Giorgio Di Maio
Giorgio Di Maio (1963, Naples) begins to take photos during his Architectural studies (1990),where he understood the strength of the photography as a mean to extrapolate from the reality a piece of the reality itself, independent in the shape and in the substance having a own narrative meaning. The expositive activity (since 1992) and the professional one (since 1993) went forward together, and every kind of restructuring activity is an opportunity for linguistic research. In 2003 he held a Master in "Fotografia dello spettacolo" by Silvia Lelli, At European Institute of Design in Milano, that introduced him to a deep research into the American Photography. Between 20017 and 2010, in Basilicata, he developed the series "Paesaggi lucani" and tried in the same period the digital photo machine. In Di Maio, then, woke up his environmental soul that bring the artist in 2011 to a new exhibition "Non è Napoli" dedicated to his own city and its beauty during the rubbish scandal. Since 2013 he slowed down the architect profession starting to study philosophy as theorical support to the practical photography, going from Naples to Milan very often, and vice versa. Then he creates" Armonia nascosta", from his studies, that is written with a specific modus operandi, aware of his reasons and purpose. Starting form Heraclitus, the Hidden Harmony show the transmigration of the mystical and philosophical roots of Paul Klee e Vassilij Kandinskij's abstract art til the photography, transforming it into a growth process both spiritual and social of a man, who goes through the evidence of the visual data looking for the Hidden Harmony as it appears today. Some projects "I sentieri dell'acqua e Chiaroscuro" (2013-2014), "Feminine, Photokina" (2016), "Cristianesimo Arte e Paganesimo" (2017), "Correspondances" (2018), "Milano in Armonia" (2018), "Il mare di Leopardi (2020), always continuing his studies of the immaterial in the material world. In 2017 he published his Photographic-philosophic web site of his research, that will be considered by different international photographic magazines. Then he started an intense exhibitions period, among public exhibition and festivals, having so many positive feedbacks from the public but also from the sector critical. In 2019, the Prof. Guido Ferraro, full professor of "Semiotica e Teoria della narrazione" at Torino's University, named Di Maio's research with those by Franco Fontana, Luigi Ghirri and Mario Giacomelli. Giorgio di Maio goes from a city to another, looking for the Hidden Harmony in nowadays reality. About Hidden Harmony The project that I would represent is the mystical and philosophical roots of Abstract Art transmigration into the Photography. The Art as knowledge tool to understand the sense. Going over the phenomenon, the appearances, searching for the law that create each event, for everyone also individual or being part of a whole. Basically there is the rejection of materialism, the faith in progress and particularly the faith in the spiritual progress of the men helped from the artist which "has in himself a mysterious visionary force....to see and to show". The photographer artist isn't a perfected camera who think that the knowledge and the experiences are only a replica of reality, who limit to reproduction of the exteriority, closed from the barriers of the phenomenon, but he know and must to express an ethical content which he gets from the sensitive data. The equilibrium that comes out from the tens and integration of differences, where the opposites converge completing themselves and the materiality falls to leave space to the spiritual presence, transform every shot in a travel through the space-time instances, instead of being the static representation of the place. In the Photography the language remain the same, using shape and color like the musical notes that touch the soul when you press a key and the human spirit vibrate. The research is the Harmony: to identify in the reality different elements in contrast with each other but in a unitary composition to create a mutual stimulating of the sense of balance and rest. The Peace. The expressionism of Der Blaue Reiter started in the of age of the new spirituality. Instead the wars and the extermination camps comes. It doesn't mean that the materialism has won but only a wrong idea of the temporal date. We don't know how much time need to achieve the spiritual progress of the humanity, maybe thousands of years or more. The important thing is that each era made a new step in right direction and in the contemporary era the Photography could be the most powerful means to give a contribution in this way.
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