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Marie-Laure Vareilles
Marie-Laure Vareilles
Marie-Laure Vareilles

Marie-Laure Vareilles

Country: France
Birth: 1966

- Testify to the variety of cultures on our planet.
Education: Interior architect. I travelled on all continents, camera in hand, to testify of the diversity of countries on our planet. Over the years I have experienced different cultures, landscapes, encounters … The cultures of the entire world are in constant evolution. My work is to serve the memory of the people and their countries all around the world.

- Creation of photo montage : imagine a universe of possibilities, elaborate the encounter of the unlikely. Mixing elements, transforming scale relations, rejecting logical constructions... Today I give a new life to the thousands of negatives taken, recreating imaginary worlds where poetry, dreams and surrealism alternate.

- Permanent exhibition : Marseille : galerie Massalia; Vaison la Romaine, in the old town : atelier ANSATU & MAILO


All about Marie Laure Vareilles:

AAP: When did you realize you wanted to be a photographer?
It was not my dream.

AAP:Do you have a mentor?
I remember about the first exhibition I have visited : it was Salgado with beautiful works in black and white. The subject he had worked on was men working by hand, all over the world... Beautiful.

AAP: How long have you been a photographer?
I took my first photo in 1985, while traveling in Turquey. It was my first trip alone abroad and I wanted to share my impresion with my family. Taking photos seemed to be the best medium for sharing places I had visited, people I had met.

AAP: What or who inspires you?
Since I am travelling and taking photos, I have realised how fast our world is changing. Faster and faster. Shooting is a way to keep testimony from a time which doesn’t exist any more : the more I travel, the more I realise that our differences are less and less visible.

AAP: How could you describe your style?
I shoot what I see, very quickly. But as soon as light is changing I shoot again ! Landscape, architecture, sky, people... many subjects can be interesting for the montages I create when I come back in my studio.

AAP: What kind of gear do you use? Camera, lens, digital, film?
Since the begining, I am working with Nikon cameras. During the last few years, I have definitly adopted digital camera. My last one is the D-800.

AAP: Do you spend a lot of time editing your images?
Not enough : after shooting, I spend a lot of time creating montages. For this reason I keep each photo, just in case ! But it might be a problem in the futur with hardware !

AAP: Favorite(s) photographer(s)?
They are so many. Editing a list would be a nightmare. Especially if I forgot to mention some of them.

AAP: Your best memory has a photographer?
I will never forget my experience in Bangladesh. I had never seen so many people working by hand, what ever they do, transport, create, make… they do not use use any machine. They work hard in bad conditions but they keep smiling!

AAP: Your worst souvenir has a photographer?
I had a bad time in Guinea. Working for an editor who wanted me to take photos from the Niger river and the every day life. The problem is I had to deal with blackmail from the people who were supposed to help me.

Website

www.artphotomailo.com

 

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More Great Photographers To Discover

Ken Hermann
Ken Hermann
Denmark
Based in Copenhagen, Ken Hermann possesses a natural urge to explore photography and world alike. He has traveled extensively, from secluded regions of India and Ethiopia to modern metropolises like New York. From every location, no matter how small or large, Hermann draws energy and inspiration; exploration of people, culture, and life is a central facet to his work, which is full of texture, volume, and atmosphere. From these experiences, he applies a cosmpolitan aesthetic to his commercial and editorial work. He is the winner of Hasselblad Masters 2012 for his City Surfer work.About Survivors:The true face of a victim.Every year people in Bangladesh are disfigured beyond recognition by acid attacks. The victims are literally scarred for life. Stigmatization follows, and rebuilding life and setting new goals for the future require both determination and strength. Most acid attacks are directed against women and children. Since 1999, more than 3,100 people in Bangladesh have been disfigured by acid. Thanks to the advocacy work done by the Dhaka-based NGO Acid Survivor Foundation only 71 cases was recorded last year – a reduction by almost 85% from just 10 years ago. The vast majority of victims are young women under the age of 35 who are mutilated by men they already know. Typically, attacks are motivated by suspicions of infidelity, rejection of marriage offers, demands for dowry, and disputes over land. One in four victims is a child.SURVIVORS is a story about people, not victims.
Fabien Pio
Fabien Pio
France
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Fabien Pio is a french photographer, former student at the Fine Arts school of Montpellier. His pictures are made of daily wanderings, in order to use the photographic medium as a way to write the simple things of life, like a diary, an everyday notebook. And through this, trying to evoke a cinematographic and literary language, according to an essential place to the narrative of the pictures. This is like an autobiography, representing oneself through the others and the things that happen to everyone, based on a latent reality, or maybe an underlying fiction, at the same time intimate and universal, sketched between dream and reality, an everlasting ambiguity in between presence and absence.
Synchrodogs
Synchrodogs
Ukraine
Synchrodogs is a duo of photographers and art directors from Ukraine - Tania Shcheglova (b.1989) and Roman Noven (b.1984) working together since 2008. Tania graduated from Information technology department of Ivano-Frankivsk national technical university of oil and gas in 2011, Roman graduated from Lutsk National Technical University in 2006. Both photographers are self-taught, currently residing in Ukraine. Artistic duo is represented by Stieglitz19 gallery in Antwerpen and Galleri Urbane in Dallas. Synchrodogs were shortlisted for PinchukArtCentre Prize in 2013 (Kyiv, Ukraine), won FOAM Construct 2012 competition held by FOAM magazine (Netherlands), won First Prize in nomination ‘Art Photography’, Photographer of The Year competition in Ukraine, and Best Fine Art Photographer Title in Vogue Talent competition (Milano, Italy), Best portfolio prize in Weitsprung n5 (Hamburg, Germany) in 2016, shortlisted for Palm* Photo Prize 2019, became winners of Feature Shoot Emerging Photography award and finalists of LensCulture Visual Storytelling Award in 2019. They also became one of winners of PH Museum Photography Grant Prize in 2021.https://phmuseum.com/ During 2010-2021 had solo shows in Chicago, London, Barcelona, Milano, Krakow, Venice, Amsterdam, Antwerpen, Riga, solo exhibition in Dallas Contemporary museum in 2015. Synchrodogs took part in numerous group exhibitions in galleries and museums like Benaki Museum (Athens), Boston Museum of Fine Arts, Guy Hepner gallery (New York), Palais de Tokyo (Paris), Somos Gallery (Berlin), The Annenberg Space for Photography (Los Angeles), ArtPrize Hub (Grand Rapids, Michigan), Galerie Blanc (Montréal) etc. Their artworks were published in many magazines like Esquire, Numero, The Wall Street Journal, Purple Fashion, Vogue, Harper's Bazaar, L’Officiel, Odda, Liberation magazine, Sueddeutsche Zeitung, Vice, Metal, TUSH, Dust, Vision, Another, Oyster, Duel, Jalouse, shot Femen activists for Dazed and Confused, published on the covers of The British Journal of Photography (UK), Vogue (Ukraine), Stylist (France), Impression (USA), TUSH, Neon, Zeit Campus magazine (Germany), S magazine, shot Mark Zuckerberg for Afisha magazine cover (Russia) etc. In 2013 Synchrodogs published their first big monograph called Byzantine with Norwegian publisher Editions du Lic. In 2020 Synchrodogs’ second book Fashion Eye of Ukraine was published by Louis Vuitton. Artist Statement Synchrodogs work explores the everlasting tension between man and nature, with images of raw, animalistic beauty, which also manage to come across as awkwardly sophisticated. Discovering how far people managed to intrude into the territories that were meant to be wild, they work together in an intimate synchronized choreography, sharing the same aesthetic and ideas acquired through a self-made meditation technique that takes place on the verge between sleep and wakefulness. Observing the new ways the Earth begins to look as a result of human interventions into the environmental processes, their work balances between the real and imagined, drawing the viewer into an unconscious, wild and dream-like world. Working on personal projects artistic duo travels for thousands of miles to find desolate places and explore the unknown, re-creating their visions and aiming to inspire people live a decent life full of respect and responsibility for Planet Earth.
Margaret Watkins
Margaret Watkins
Canada
1884 | † 1969
Margaret Watkins (1884-1969) was born in Canada. Best known for art and advertising photography executed in New York in the 1920s, Watkins was active in the Clarence White school of photography and a participant in the shift from pictorialism to modernism. Her working life spanned a Victorian upbringing in Hamilton, Ontario, and the witnessing of the first Soviet Five-Year Plan. Watkins' modernism, which involved experimentation and a radical focus on form, transgressed boundaries of conventional, high-art subject matter. Her focus was daily life and her photographs, whether an exploration of the objects in her New York kitchen or the public and industrial spaces of Glasgow, Paris, Cologne, Moscow, and Leningrad in the 1930s, strike a balance between abstraction and an evocation of the everyday, offering a unique gendered perspective on modernism and modernity. Watkins established a studio in Greenwich Village and in 1920 she accepted the position of editor of the annual publication Pictorial Photography in America. Clarence White asked Watkins to join the faculty of his school, where Watkins met other notable photographers, including Alfred Stieglitz and Paul Strand. She worked for Macy's department stores and for the J. Walter Thompson advertising agency, capturing simple domestic objects with a clarity of modernist vision rare in commercial photography at the time. Her landscapes, portraits, nudes, still lifes, and abstractions received praise and attracted controversy. Exhibitions were held in the United States and in Europe. In 1928, Watkins decided to visit her four elderly aunts in Glasgow, Scotland. She traveled throughout Europe, photographing extensively and producing a body of work documenting post-revolution Russia. Her aunts began to take ill, and Watkins remained in Glasgow to help care for them. She drifted from the spotlight of public recognition, and few photographs or negatives exist from this time. Watkins lived in Scotland in seclusion until her death in 1969.
Monika Macdonald
Monika Macdonald
Sweden
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Monika Macdonald was born in 1969 in Sweden. She moved to Stockholm where she studied photography after graduation. In 2001 she settled in London and worked as a freelancer, primarily making reportage for newspapers and magazines. She returned to Sweden in 2007 and ever since has focused on working on self initiated projects. In her thick photographs, plenty of souls and flesh, inhabited by strength and vulnerability, Monika Macdonald breathes an unusual eroticism into photography that provokes a vision of interiority rather than fantasy. They invite us to observe moments of abandonment as well as introspection where distant (and yet concrete) beings are grasped in their daily lives as desiring subjects rather than objects of desire. Here the intimate is suggested, and something of the neglected order of existence surfaces. Monika Macdonald shows what remains in the absence, the flesh of everyday life: meeting, abandonment, taste for solitude... The bewitchment of her images lets us penetrate beyond the visible and glimpse this intimacy that is usually killed. "I don't like the idea of taking pictures that much. But I always come back to it. There are no words to describe the feeling of being close to something. That's why I keep going. I oscillate between different worlds to which I try to link myself. My images are memories. To access a sense of loneliness and vulnerability. To be admitted beyond reason, far from what is called reality." Source: Galerie VU' In Absence is a series of images portraying women in their strive to find their own identity in a solitary life. Hulls is a photographic essay about my meeting with the man in a space, without limitation. An intimate room for losing self control. Book to be published beginning of 2020 by André Frère Éditions, France. Edited by Art Director Greger Ulf Nilson.
Sam Heydt
Sam Heydt
United States
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Sam Heydt (born April 20, 1986) is an American social practice and recycled media artist born/raised in New York City. She has lived/worked in Paris, Venice, Amsterdam, Athens, Buenos Aires, Sydney, Reykjavík, Udaipur and Vienna [current]. As a published author, producer and lifelong social activist and environmentalist, Heydt has undertaken a range of altruistic, non­-profit work and anchors her practice in advocacy. Through her unique manner of expression, she illustrates a world exploited beyond use and increasingly reduced to a bottom line. Esteemed as one of the pioneers of the recycled media movement, she works across different media- film, video, installation, photography, sculpture, sound and text and employs a range of materials, often reinventing and trespassing their associative use. Marrying images of destruction with portrayals of the American Dream, her work confronts the disillusionment of our time with the ecological and existential nightmare it is responsible for. Heydt's work has been shown in galleries, museums, art fairs and film festivals worldwide. Statement The edge is closer than we think, but illusion won't free us from reality, even as the sustained narrative of tabloids becomes history and the myth of progress continues to perpetuate inequality. As the natural world is liquidated and substituted with an artificial one, public discourse is being defined by even narrower bandwidths Our time is marked by mass extinction, product fetishism, diminishing resources, and patented seeds. The skeletons of old factories serve as caveats for a world exploited beyond use, a world increasingly reduced to a bottom line. Dissidence is drowned out by the white noise of the media, which holds the social psyche captive in with the empty promises it proposes for the future it truncates. Working across different media- film, video, installation, photography, sculpture, sound and text, Heydt presents an abstract proposition for a world on the periphery of history, one that not only appears haunted by the ghosts of the past, but built on it. Conflating time and place, her layered imagery collides, merges and disrupts logical relationships between occurrences. Through adding and subtracting meaning by combining images of destruction with portrayals of the virtues born from the American Dream, Heydt confronts the disillusionment of our time with the ecological and existential nightmare it is responsible for.
Ralf Dreier
Ralf Dreier
Germany
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Ralf Dreier is a self-taught photographer with more than 25 years of experience. With a particular focus on minimalist black and white photography in the fields of architecture and landscape, he strives first and foremost to convey emotions and moods with his images. Statement: My pictures are essentially about conveying feelings and moods, so I don't really try to tell a story with them. These moods and feelings are what I feel when I look at a landscape that I would also photograph. It's about relaxation and letting go of everyday problems. But if a story does develop in the viewer's mind, it's definitely positive, because it's their very personal story that they associate with my pictures. However, it makes a difference whether we look at a landscape directly and immediately or whether we only look at a picture of it. Directly in the landscape, our brain is able to block out everything that distracts or disturbs us. At least this works if the distractions are not too dominant. In a photograph, small things often distract us and prevent us from finding the necessary calm and relaxation to engage with the image and let the feelings and moods come to us. I therefore try not to include any of these distracting elements in my pictures. I achieve this in my minimalist black and white pictures, for example, through the choice of image detail. Other disruptive elements that create unrest and therefore attract attention can be the sky or uneven water surfaces. For water surfaces, I usually use long exposures of up to two minutes in my pictures. This makes the surface soft and smooth and suddenly even conveys additional calm. With a turbulent sky, on the other hand, the only thing that usually helps is to wait for better conditions. My favourite subjects are mainly landscapes and architecture. However, for me, the two tend to merge seamlessly. I prefer open landscapes that allow you to look into the distance. From my point of view, this helps me to detach my thoughts from the realities of everyday life. In densely built-up areas or mountainous landscapes, however, a clear view is often only possible in the direction of the sky. For this reason, the sky is becoming increasingly important in my pictures. And it also depends on the structure of the sky. A uniformly blue or grey sky is often somewhat boring, at least in a photo. On the other hand, restless clouds with strong contrasts can attract more attention than they deserve. It's simply important to wait for the sky to be as suitable as possible. In some cases, however, my pictures manage without looking into the distance. Then geometric shapes and structures take over the task of detaching thoughts from everyday life. The order of the geometric shapes and the regularity of the structures have a calming effect on the viewer and in this way help them to get into the mood of the picture.
Ernst Haas
Ernst Haas
Austria/United States
1921 | † 1986
Ernst Haas was born in Vienna and began studying photography at the Graphische Lehr und Versuchsanstalt in Vienna six years before acquiring his first camera in 1946. After several photography-related jobs, he was offered a position at Life, and his first feature article, "Returning Prisoners of War," was published in both Heute and Life in 1949. This prompted Robert Capa to invite Haas to join the Magnum agency, the international cooperative founded by Capa, Henri Cartier-Bresson, George Rodger and Chim (David Seymour). Also in 1949, Haas purchased a Leica and began experimenting with color photography, the medium in which his work is best known. His "Magic Images of New York," a twenty-four-page color photo essay, which appeared in LIFE in 1951 was both his and LIFE's first long color feature in print. Throughout the 1950s and 1960s, Haas worked in both black-and-white and color, contributing to LIFE, Look, Vogue, and Holiday. He also worked as a still photographer for films, among them The Pharaohs, The Misfits, and Little Big Man. Haas served as president of Magnum in 1959-60, and as second director for The Bible (John Huston was first director) in 1966. The Creation (1971), a book of his photographs, eventually sold more than 300,000 copies. Ernst Haas pioneered the use of color photography at a time when it was considered inferior to black-and-white as a medium for serious creative photographers. His innovative use of the slow shutter speed, which gave many of his pictures the illusion of movement, and his emphasis on audiovisual presentations (works involving sound, poetry, and pictures) opened many possibilities in color photography and in multimedia art. Although he is famous for his color photography, Haas's black-and-white images are among the most incisive, evocative, and beautiful images of postwar Europe and America, as was demonstrated in ICP's exhibition of his work in 1993. Source: ICP
Joan-Ramon Manchado
Joan-Ramon Manchado
Spain
1967
Joan-Ramon Manchado is a sculptor and photographer, based in Barcelona. In 2018 he began photographing people in public spaces of different cities around the world, sometimes including the urban context and other times avoiding it to give maximum prominence to human beings. Although he does not renounce digital photography, he is especially interested in the materiality of the photographic object and in traditional techniques that allow him to experiment in the different phases of the process. Passers-by is the first work that he publishes. It was awarded in the Portfolio Review of the Revela'T Festival 2021 and has been a finalist in the Lens Culture Black and White Photography Awards and in the Fotonostrum Portrait Award. Passers-by "No one pays heed to the apparently abstruse fact that other people are also living souls." - Fernando Pessoa (The book of Disquiet) "I usually photograph people in the street; passers-by I come across with when I’m walking in different cities around the world. Photography allows me to capture an underlying dimension that I could hardly perceive with the naked eye. It’s a hybrid process that begins with digital capture and ends with the completion of the blueprint, whose monochromatic tones and loss of detail contribute to emphasize the most essential of the images. This way, without imposture or context, Passersby’s faces are revealed to me in an unequivocally transcendent manner." -- Joan-Ramon Manchado
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Latest Interviews

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Exclusive Interview with Carolyn Moore
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Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
For over seven years, Of Lilies and Remains has explored the depths of the goth and darkwave underground, unfolding in Leipzig—a city long associated with a vibrant and enduring subcultural scene. Moving between iconic gatherings such as Wave-Gotik-Treffen and more intimate moments on the fringes, the project offers a rare and immersive glimpse into a world often misunderstood, yet rich in expression and community. Created by Luca in collaboration with Laura Estelle Barmwoldt, the work embraces a cinematic and deeply personal approach. Rather than documenting from a distance, it moves within the scene itself, capturing its atmosphere, its codes, and its quiet contradictions. The title Of Lilies and Remains hints at this duality—where beauty and darkness, fragility and strength coexist. As the book prepares for its release, we spoke with both artists about the origins of the project, their process, and what it means to document a subculture that continues to evolve while remaining true to its spirit.
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Exclusive Interview with Matthew Finley
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Exclusive Interview with Matthew Finley
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Exclusive Interview with Jan Janssen
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Exclusive Interview with Jan Janssen
Dutch photographer Jan Janssen explores universal human experiences through his long-term project It Matters, winner of the May 2025 Solo Exhibition. Begun in 2016, the series captures intimate moments of everyday life—love, loss, connection, and belonging—across Central and Eastern Europe. Working in countries such as Turkey, Azerbaijan, and Armenia, Janssen spends extended time within communities, building relationships based on trust and respect. His approach allows him to move beyond observation, revealing deeply human and authentic moments. Rooted in travel and personal discovery, It Matters reflects Janssen’s search for what connects us all in an increasingly divided world. The project is ongoing and will culminate in a photobook scheduled for publication in 2026.
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Exclusive Interview with Henk Kosche
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German photographer Henk Kosche turns his lens toward the streets of Halle an der Saale, capturing everyday life in the late years of the former German Democratic Republic. At the time, Kosche was studying design and exploring the city with his camera, drawn to the atmosphere of its industrial landscape and the quiet rhythms of daily life. His series Street Photography at the End of the 80s, selected as the Solo Exhibition for July 2025, revisits a body of work created just before a period of profound change. Rediscovered decades later in a small box of 35mm negatives, these photographs offer glimpses of a city and its people at a moment suspended between the familiar and the unknown.
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Exclusive Interview with Anastasia Samoylova
Anastasia Samoylova is an American artist whose photographic practice is shaped by close observation and a deep attentiveness to place. Working between documentary and formal exploration, she photographs landscapes, architecture, and everyday scenes with a sensitivity to light, structure, and atmosphere. Since relocating to Miami in 2016, her work has increasingly focused on how environments—both natural and built—carry social, cultural, and emotional traces. We asked her a few questions about her practice and her way of seeing, to better understand the thoughts and experiences that shape her work—while allowing the images themselves to remain open and speak in their own time.
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Exclusive Interview with Marijn Fidder
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Exclusive Interview with Josh S. Rose
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Josh S. Rose is a multidisciplinary artist working across photography, film, and writing. His practice bridges visual and performing arts, with a strong focus on movement, emotion, and the expressive potential of the image. Known for his long-standing collaborations with leading dance companies and performers, Rose brings together authenticity and precise composition—a balance he describes as “technical romanticism.” His work has been commissioned and exhibited internationally, appearing in outlets such as Vogue, at the Super Bowl, in film festivals, and most recently as a large-scale installation for Lincoln Center for the Performing Arts. A sought-after collaborator, he has worked with major artists, cultural institutions, and brands, following a previous career as Chief Creative Officer at Interpublic Group and the founder of Humans Are Social. We asked him a few questions about his life and work.
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Interview with Maureen Ruddy Burkhart
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Read the full interview
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