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Win a Solo Exhibition in June 2026 + An Exclusive Interview!
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Nicolas Dhervillers
Copyright Marie Gruel
Nicolas Dhervillers
Nicolas Dhervillers

Nicolas Dhervillers

Country: France
Birth: 1981

Nicolas Dhervillers is a French artist who works in the field of photography. After multimedia and photography studies, he made a name for himself after an historic commission from the Centre Pompidou in Metz. Inspired by cinematic, theatrical and pictorial writing, Nicolas Dhervillers's approach decompartmentalizes the photographic medium.

He works with French Galleries, collaborates with Art Centers and International Museums. He was invited to show his work in many countries like Switzerland, Germany, Korea, China, Netherlands, Usa and to Paris Photo for the past 5 years.

In 2014 and 2015 he will have a solo exhibition at the Helmond Gemeente Museum (NL) then he will be in Australia for an International Festival and in Belgium for the "triennale de Photographie et d’architecture".


All about Nicolas Dhervillers:

AAP: Where did you study photography?
I studied cinema first, then theater, and then I came to Paris to make a master in Photography and mixed media. I studied with Mr Jean Claude Moineau, my "chief" in terms of theory.

AAP:Do you have a mentor or role model?
No, but Jeff Wall influence me off course.

AAP: How long have you been a photographer?
10 years, but not a Photographer, maybe an artist is more correct, in a way.

AAP: What or who inspires you?
History of art in general

AAP: How could you describe your style?
It is a mix between the painting spirit (about the white page), the cinematographic light and the pose of theater.

AAP: What are your projects?
Retrospective exhibition in Netherlands.

Galleries

School Gallery/Olivier Castaing

Galerie du Jour Agnès b.

Website

www.nicolasdhervillers.com

 

Inspiring Portfolios

Marjolein Martinot
© Marjolein Martinot
Jackson Patterson
© Jackson Patterson
Nanda Hagenaars
© Nanda Hagenaars
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More Great Photographers To Discover

Krzysztof Wladyka
Krzysztof Wladyka
Poland
1980
Krzysztof Wladyka was born in 1980 in Olawa (Poland) where he currently lives and works. He discovered photography as an artistic medium in 2006. As a self-taught photographer who is not strictly connected with the photography market, he became appreciated by various curators and galleries. His works has been exhibited in Poland, United States and Cambodia - during Angkor Photo Festival in 2011. The most popular series Animalies has been awarded in many photo competitions including International Photography Awards (IPA) in 2010 and it has been chosen for group exhibition in New York city as Best of the Show. Wladyka’s photographs are full of symbols, signs, fragments of living nature, strange props which all are mixed in square frames. They are characterized by pure forms, vivid colors, and impeccable composition. His unique style owes through observation of reality and it is based on the synthesis of his experiences, thoughts, meanings, emotions, and energy.
Emmanuelle Becker
Emmanuelle Becker
France/United States
Emmanuelle Becker is a French-American artist-photographer living in Paris. She studied drawing, photography and printmaking at George Washington University in Washington, DC. from which she graduated with honors and later earned a master's degree in painting from Pratt Institute in New York. After graduating, she worked as a textile designer and then as a graphic designer all while pursuing her fine art career. Over time, photography has become her medium of choice, although her diverse artistic background influences both the aesthetics and craft of her photography. Emmanuelle touches on the unconscious in her images. She works in series and draws on memories and their accompanying emotions to create a very personal visual language which questions, disrupts and reshapes the viewer's perception of reality. With each series, Emmanuelle blurs the line between fantasy and reality to create enigmatic narratives and metaphors. Emmanuelle Becker's work has received international recognition, receiving awards and honorable mentions from many different competitions including the International Pollux Award, the Julia Margaret Cameron Award for Women Photographers, the Minimalist Photography Awards, the Worldwide Photography Gala Awards and the Creative Photo Awards. Her works have featured in exhibitions in Europe, Asia and the United States and been published in numerous catalogues and photography magazines including ALL ABOUT PHOTO and The Eye of the Photograph.
Carlos Salinas
Carlos Salinas
United States
2006
Carlos Salinas (csalfilm) is a Creative Director, photographer, and filmmaker based in Seattle, Washington. He has been passionate about photography for six years, focusing seriously on it for the past 2.5 years. Carlos served as Director of Technology and Head Photographer for his high school and now contributes creatively at the University of Washington as a creative for multiple RSOs. Including at the music collective WEST OF EDEN, where he started as a photographer and was recently promoted to Videographer and Creative Director. For his personal film work, Carlos primarily uses Premiere Pro and is expanding his skills in After Effects to strengthen his versatility in editing and post-production. He is increasingly focused on cinematography, directing and shooting music videos, short films, and visual content for UW RSOs (Husky Jam, fitted., The Daily) and local businesses.
Phil Stern
Phil Stern
United States
1919 | † 2014
Phil Stern was an American photographer noted for his iconic portraits of Hollywood stars, as well as his war photography while serving as a U.S. Army Ranger with "Darby's Rangers" during the North African and Italian campaigns in World War II. Settling in Los Angeles after the war, Stern was staff photographer for Look magazine. He also worked for Life magazine and Collier's. He was present on numerous film productions as still photographer, and in that capacity took photographs of a huge cross-section of the film community. Stern's images of Marilyn Monroe, James Dean, Marlon Brando and even musician Louis Armstrong have become widely recognized icons. A lifelong smoker, Stern died at the age of 95 in Los Angeles from COPD and congestive heart failure which he had been battling for over three and a half decades.Source: Wikipedia I’ve taken mountains and mountains of stuff, which I occasionally describe as mountains and mountains of shit. It so happens, there’s a little gem here and a little gem there. You dig out those gems. -- Phil Stern Phil Stern created portraits of stars of the silver screen – including James Dean, Marlon Brando and Marilyn Monroe – that were both iconic and intimate. His subjects looked natural, even self-absorbed or introverted. The lower half of his most famous portrait of James Dean (1955) is a black cable-knit jumper; the upper half reveals Dean’s face only from halfway up his ears. His eyes are rolled up, framed by straight eyebrows. The white plane of Dean’s forehead under a shiny shock of tousled hair, and the pale background, inevitably draw attention to those mischievous eyes, bisecting the frame and challenging the viewer. By contrast, one 1953 image of Marilyn Monroe shows her as wistful and withdrawn, looking into the distance with an air of abstraction, her hands nervously fingering the loosened bow at the waist of her gown. As Stern told Entertainment Weekly in 1993: “I was never interested in the glamour, I was interested in the tears and agony behind it.” His friendship with John Wayne gave him access to perhaps his most subversively casual image. It shows Wayne lighting up, eyeline going straight to a woman’s bared leg. But it’s not what he’s doing but what he’s wearing that draws the viewer’s eye: the cowboy hat and loose jacket conform to type, but below the waist the over-constricting gingham shorts, plump legs and girly espadrilles are a risible disaster. Stern’s pictures of musicians are very different in character. Formal ones – such as of the Rat Pack on stage in 1962 – are mainly of lineups. One senses his preference for the moodiness of Sinatra alone, shot from behind and dressed – as if by Raymond Chandler – in a hat and long mackintosh, pacing down a bleakly dirty corridor towards a dead end. Another Rat Pack member, Sammy Davis Jr, performed a rooftop diamond-shaped jump. Despite his tightly drawn up (and shiny) brogues, his white outfit and right-angled arms with their delicately spread fingers are reminiscent of a Hindu dancer (1947). Stern loved jazz, and he photographed Louis Armstrong in a coincidentally similar pose, not jumping but perched on a stool, trumpet upended on his knee as he looks down and laughs into his chest (1957). Stern enjoyed the image so much that he made a lifesize cardboard cutout of it, and had his own portrait taken alongside. A less artfully composed shot shows Armstrong and Ella Fitzgerald together, in full swing, singing at a studio recording. There was more to Stern’s career than showbiz, however. He enlisted as a combat photographer in the second world war, and won a Purple Heart for his courage and willingness to risk his life picturing infantrymen under fire. Stern documented US troops advancing through north Africa, and was invalided home with severe shrapnel wounds to his arms and neck. In 1943 he returned to cover the Allied invasion of Sicily for Stars and Stripes, the US army magazine. According to his biographer, the journalist Herbert Mitgang: “His pictures of the invasion and its aftermath remain among the most outstanding documents in the annals of combat photography in any war, before or since.” The postwar decades saw a media boom: the heyday of photo magazines and blockbuster movies aimed at a predominantly young mass audience. Stern rode the publicity of a new generation of stars who became, at least in part through his attention, poster pinups. Interviewed later by the Los Angeles Times, he mused on his transfer from war to celebrity photography. “ [The war] very well might have helped me get access ... I don’t really know for sure, because some of them wanted publicity so bad that you didn’t have to have a Purple Heart for that. All you had to have was an expensive camera.”Source: The Guardian Look, Matisse I ain’t. You know how they have on the invitations, “a reception for the artist will be held at...” And I say, “Look, you gotta change this. I’m not an artist. I’m a photographer, a skilled craftsman.” -- Phil Stern
Miho Kajioka
Miho Kajioka
Japan
1973
Miho Kajioka was born February 21st, 1973 in Japan and studied at Concordia University and the San Francisco Art institute in the 1990s. Kajioka's artistic practice is in principal snapshot based; she carries her camera everywhere and intuitively takes photos of whatever she finds interesting. These collected images serve as the basic material for her work in the darkroom where she creates her poetic and suggestive image-objects through elaborate, alternative printing methods. Kajioka regards herself more as a painter/drawer than as a photographer. She feels that photographic techniques help her to create works that fully express her artistic vision. Her images evoke a sense of mystery in her constant search for beauty. The focused, creative and respectful way in which she uses the medium of photography to create her works seems to fit in the tradition of Japanese art that is characterized by the specifically Japanese sense of beauty: wabi sabi. Wabi has been described as 'serene attention to simple things' and sabi as 'beauty acquired through the patina of time'. The artist regards herself as a maker of objects rather than a maker of photographs, using moments of her everday life as both inspiration and material. Source: Peter Fetterman Gallery Miho Kajioka (b. 1973, Japan, lives in Kyoto) studied fine art in the United States and Canada and started her career as a journalist in her native country Japan. It was after the 2011 earthquake and tsunami that Kajioka was reconnected to her photographic art. Two months after the disaster, while reporting in the coastal city of Kamaishi, where over 800 people died, she found roses blooming beside a blasted building. That mixture of grace and ruin made her think of a Japanese poem: In the spring, cherry blossoms, In the summer the cuckoo, In autumn the moon, and in Winter the snow, clear, cold. Written by the Zen monk Dogen, the poem describes the fleeting, fragile beauty of the changing seasons. The roses Kajioka saw in Kamaishi bloomed simply because it was spring. That beautiful and uncomplicated statement, made by roses in the midst of ruin, impressed her, and returned her to photography. The photos presented, span Kajioka's adulthood, including pictures she took while living abroad, as well as scenes she captured in Japan after the disaster. The little pictures of a flower, or a running boy, are scenes from daily life, as it is. These fragments of her life, from various periods and against changing backdrops, are not so different from each other, and the differences that remain aren't important. Happiness, sadness, beauty and tragedy only exist in our minds. Things are just as they are. Since 2013 Kajioka's work has been exhibited in France, the Netherlands, Colombia, the United Kingdom, Italy, Germany and Spain. Source: IBASHO Exhibitions 2020 tanzaku, The Photographers' Gallery Print Sales (February 7 to March 22) 2019 time travel (duo exhibition with Rens Horn), de ketelfactory, Schiedam, the Netherlands (September 28 to December 22) And, where did the peacocks go?, International Photo Festival InCadaqués, Cadaqués, Spain (September 20 to 29) And, where did the peacocks go?, Kunstenfestival Watou, Watou, Belgium (June 29 to September 1) 2018 (all solo) So it goes, IBASHO Gallery, Antwerp, Belgium (September 9 to November 4, 2018) So it goes, Caroline O'Breen Gallery, Amsterdam, Netherland (September 8 to October 13, 2018) Half a dozen, Residency Program, Lisbon, Portugal (May 24 to August 31, 2018) Unfinished spaces, The Photographers' Gallery, Print Sales, London, UK (Feb 23 to April 14) 2017 And, where did the peacocks go?, Corden Potts Gallery, San Francisco, US (March 23 to April 29) 2016 And, where did the peacocks go?, Galerie VU', Paris, France (June 8 to September 2 – Solo) Et, où les paons sont-ils allés?, Festival La Gacilly Photo, France (June 3 to September 30) Grace and Ruin, SeeLevel Gallery, Amsterdam, Netherland And, where did the peacocks go?, Central Colombo Americano, Bogota, Colombia 2015 Renaissance Photography Prize, Getty Images Gallery, London, UK (Group) And, did the peacocks go?, ARTBO, Bogota, Colombia (Solo) And, where did the peacocks go?, Twenty 14 Contemporary, Milan, Italy (Solo) UNREAL, M2 Gallery, Sydney, Australia (Group) 2014 LAYERS, Microprisma, Rome, Italy (Solo) as it is, Fotografika Galerie, Gland, Switzerland (Solo) Balade(s) Parcours Photographique, Galerie Le Neuf, Lodève, France (Group) Boutographies, Montpellier, France (Group) Catching tails, Linke, Milan, (Group) 2013 As It is, Centro Italiano della Fotografia d'Autore, Bibbiena, Italy (Group) Reality and Emotion, Valid Foto BCN Gallery, Barcelona (Group) Galleries IBASHO, Antwerp, Belgium The Photographers' Gallery, Print Sales, London, United Kingdom Galerie Caroline o'Breen, Amsterdam, the Netherlands Ira Stehmann Fine Art, Munich, Germany Bildhalle, Zürich, Swizterland Polka Galerie, Paris, France Twenty14 Contemporary, Milan, Italy Peter Fetterman Gallery, Santa Monica, United States
Carolyn Hampton
Carolyn Hampton
United States
Born and raised in Southern California, Carolyn Hampton first fell in love with photography at the age of 10 when her parents gave her a Pentax camera for her birthday. With camera always in hand, Carolyn went on to live in two European countries, travel the world, and learn to speak several languages. On a long trip by herself to Sub-Saharan Africa, shooting many rolls of film in that beautiful light amid a wild and unpredictable landscape, an artistic spark was ignited. That passion for photography grew with the birth of her daughter, when Carolyn was inspired to recreate childhood dreams, memories, rituals and fantasies. With her daughter as her muse, and using artifacts that have been passed down through generations of her family, Carolyn’s work is intensely personal and often carries symbolic meaning. Her intention is to create a timeless image that calls to mind the beginning of a story of childlike innocence, for which the viewer can determine what happens next. Many of us are captivated by the same visions, stories and themes, either subconsciously or consciously, because of our shared human experience. Carolyn’s work is held in private collections, including that of Jock Sturges, Kim & Gina Weston, and the Center for Fine Art Photography, has been exhibited in galleries and fine art festivals worldwide, and has been published in books, magazines, newspapers, exhibition catalogues, and on popular blogs. Source: www.carolynhampton.com
Joseph Rafferty
Joseph Rafferty
United States
1976
Joseph Rafferty's projects are his artistic statements. When he was eight, his mother died. She went on vacation to Hawaii, and returned in a coffin. The boy was immediately uprooted from free and love-filled life, and forced to live with a freshly born-again Christian father, who became Joseph's newly self-appointed spiritual leader. An environmental lawyer who didn't ensure the safety of his own child's environment. Joseph's father silenced individuality, demanded polite compliance, and along with his stepmother, kept a still-grieving child tethered to linear thinking, Joseph did not develop the art of verbal expression. He quickly learned to swallow truth and hide pain. Photography became a powerful thread of connection to his emotion and spiritual ideas, laced with the harsh realities of a flawed culture, and the ironies within his family's worldview. Photography was an open window in his prison, giving fresh breath to a starving soul, and it became a pivotal foundation in his metamorphosis. It provided the theatre of the mind with a stage, creating space for growth and transformation beyond the stifling shell that threatened to entomb. Thriving on the sunshine of his bohemian mother's love. Joseph's nonlinear and free imprinting is counterculture's birthplace, San Francisco a land of a thousand languages, a thousand sexualities. This critical period of exposure deep seeded beliefs and values into the young child's subconsciousness he loved to see love. When his mom passed - her fashion colleagues & community sent words of condolences + small gifts of money. During his military enlistment Joseph would return to the photography store his mom frequented. With the small gifts of cash from letters of condolence he purchased large & medium format cameras and tripods. If I purchase cameras she's always with me. In doing so, he channels her instrumental spirit - a spirit guiding him from the pain and anger of his youth, and led to light. Through loving memory of her unconditional support, Joseph's found a peace and purpose in life, grounded in relationships with his partner and their children, mindful of certain pitfalls in our culture, and dedicated to the unedited, true expression of unique experience. Photography has been a life-line of expression during Joseph's stay on earth, feeling most grounded when his ideas materialize to visual imagery. Motivated by a passion for social justice, Joseph lives in a realm of beauty amongst pain. His visual linguistics are sculpted props and drawings, through which his visceral experiences emerge as a visual tapestry. Weaving images that provoke emotion and encourage empathy for others despite differences, Joseph's visuals are moments of "things as they are experienced psychologically, rather than things as they are scientifically" (William Mortensen). His body of work also influenced by early foundational years among the Redwood trees, his service in the United States Military, and his education at Art Center College of Design. Heavily inspired by Arnold Newman's manipulation of existing light, Joseph captures images with all formats of cameras. His photographic subjects begin with an idea explored through sketches further developed through research (literature, current events, locations, and style), and are materialized through intuitively sculpting of props. Each detail becomes a tool in building a landscape of meaning.
Virginia Hines
Virginia Hines
United States
Virginia Hines started photographing during high school, working part-time for the local newspaper where her parents were editors, and later studied photography with notable artists including Harvey Stein, Bruce Gilden, Alex Webb, and Geoff Winningham. She is a frequent contributor to Street Photography Magazine and their podcasts featured her in April 2021 and May 2022. She also wrote the introductory essay for Harvey Stein's latest book of street photography, Coney Island People: 50 Years. Her photographs have appeared in many print and digital publications and have been exhibited in group shows across the U.S. and in Europe. You can follow her progress on Instagram @vhines_photos and on her web site. Statement For me, photography is about making connections, most importantly, connections with other people. Even in brief interactions, there is a potential connection, a communication, that can create bonds with individuals from a variety of circumstances. Photography is an outlet for my enduring curiosity about people. There is also the challenge of making visual and conceptual connections within the confines of the frame. Photography provides a means of playing with the inescapable yet elusive dimension of time, which has fascinated me ever since I learned there was meaning to exactly how the hands were positioned on the face of a clock. I have been trying to “tell time” ever since. Finally, photography gives me a way to explore mysteries and discover order and beauty in everyday life. Often enough, life does not seem beautiful, but sometimes a photograph will bring to light qualities that lie beneath the surface. I treasure these small epiphanies and the tools photography provides for bringing them to light.
Ren Hang
Ren Hang
Chinese
1987 | † 2017
Ren Hang (Chinese: 任航; March 30, 1987 – February 24, 2017) was a Chinese photographer and poet. During Ren's incipient career, he was known mostly for nude photographic portraits of his friends. His work is significant for its representation of Chinese sexuality within a heavily censored society. For these erotic undertones, he was arrested by PRC authorities several times. He received the backing of the Chinese artist Ai Weiwei, who included Ren in his 2013 Netherlands show, Fuck Off 2 The Sequel, and curated the photographer's 2014 exhibition in Paris, France. Ren's erotic, playful and casual yet provocative expression gained him worldwide fame. Ren was born in 1987, in a suburb of Changchun, Jilin province, in northeastern China. In 2007, in order to relieve the boredom of studying advertising at college, he bought a point-and-shoot camera and began shooting his friends. As a self-taught photographer, he said his style of photography was inspired by the artist Shūji Terayama. Ren suffered from depression. He posted a series of diary entries titled My depression on his blog, recording the fear, anxiety and internal conflicts he experienced. Ren died by suicide on February 24, 2017 in Beijing. Ren Hang first began taking pictures of his roommates and friends in 2007, shooting them in the nude as all were close and seeking excitement. In an interview, he also admitted: “I usually shoot my friends, because strangers make me nervous.” He arranged his subjects' naked limbs in his photographs. Ren did not consider his work inappropriate: “I don’t really view my work as taboo, because I don’t think so much in cultural context, or political context. I don’t intentionally push boundaries, I just do what I do.” This may account for his reticence to limit his work to indoor settings. He said there were no preferred places for him to work, as he believed anywhere was beautiful and worthy to be shot, including sparse studios, parks forests, and atop buildings. Ren's photos employ nude groups and solo portraits of men and women often contorted into highly performative positions. For example, hands reach down milky thighs, a limp penis flops onto a watermelon and a series of backsides imitate a mountain range. Questioning the purpose of his work, he once stated that his creation was a way to seek fun for both photographer and the photographed. However, once he had reached fame on an international level, he began to think deeply about his work. The British Journal of Photography quoted him as once saying: "I don't want others having the impression that Chinese people are robots... Or they do have sexual genitals but always keep them as some secret treasures. I want to say that our cocks and pussies are not embarrassing at all." Ren also focused on marginalised people in Chinese society with gender identity disorders by 'indeterminating' sex and gender in some of his work: a group of naked bodies stacked together, men wearing silk stockings and wearing lipstick. He denied having a preference in models: “Gender… only matters to me when I’m having sex.” The international quarterly photography journal Aperture used his photo as the cover for its Queer theme. Commentators also see his work, the naked body and the starched penis, as evolving sexual mores and the struggle for creative and sexual freedom in a conservative, tightly controlled society. But Ren Hang also announced "I don't try to get a message across, I don't give my works names, I don't date them. I don’t want to instill them with any vocabulary. I don't like to explain my photos or work as a whole". It has been mentioned that Ren's work is softcore pornography because of the degree of nudity and sex in it, but he also worked with other themes. The most famous was titled My Mum. Although still under a fetishistic atmosphere, posing with usual props in Ren's works like animals and plants, Ren's mother posed as a clothed model, in a light-hearted way to represent her daily life. Ren's photographs have been included in magazines L'Officiel, GQ Style, and Vice. He worked with fashion companies Gucci, Rick Owens, and Loewe. Ren's work is included in Frank Ocean's magazine Boys Don't Cry. Ren Hang is noted to be greatly influenced by Chinese and Asian contemporary art and in particular, Japanese photographer and contemporary artist Nobuyoshi Araki. Ren Hang mainly worked with a simple point-and-shoot camera. He would direct the models as to how to place their bodies and shoot in quick succession. Genitalia, breasts and anuses were not covered up, but featured, or accentuated with props and close-ups. Colors were rich and high in contrast, increasing visual impact. This, along with the fact all bodies were slim, lithe and relatively hairless, made the impact of his photographs more impressive. His work communicated a raw, stark aesthetic that countered taboos and celebrated sexuality and it was this contemporary form of poeticism in a visual context in which Ren Hang expressed themes of identity, the body, love, loss and death. Nudity is not a theme in art that can be widely accepted by the Chinese older generation. Ren Hang's works are sometimes misinterpreted by the public as pornography. Although some have written that Ren Hang used his photographs to challenge Chinese cultural norms of shame around nudity, he did not believe he was challenging the stereotype and leading a revolution. For him, nudity and sexuality are natural themes which he used in his work. "Nudes are there since always. We were born nude. So talking about revolution, I don't think there's anything to revolutionize. Unless people are born with clothes on, and I want to take their clothes off, then I think this is a revolution. If it was already like that, then it's not a revolution. I just photographed things on their more natural conditions." He said he was not trying to liberate nudity and sexuality since he believed that the Chinese young generation was open-minded and less affected by the old-fashioned cultures. When Ren Hang talked about the question whether the topic of sexuality was still a taboo in China, he said: "I don't think it's related to our times, these are individual cases. Like how to say it, I think it depends on different people, it doesn't really relate to other things. I was not in the whole parents told you that you can only have sex if you get married era. The time after I grow up was already over that period, it was already different like everyone was already more relaxed."Source: Wikipedia Flesh, corpses, souls and bland flashlights, all composite into seconds or milliseconds of lights and shadows, projecting onto the film that never knows how to lie. Focus gathering and the shutter releasing, connecting his unpretentious, rebellious, wild and free perspectives towards the naked human body. The images look so natural, yet fun and unexpected. One soul after another all blossom like a newborn baby, urging to crawl out of his mother’s womb, dying to be redefined. In this era that we live in, being censored by the Chinese government has almost become a stamp of approval for contemporary artists. Ren Hang, a young man with a mature look and tanned skin, hair as short as a Chinese soldiers’, always carrying an irresistibly cute and innocent smile on his cheeks. He is, perhaps, the sole artist and photographer with the most edgy outlook towards the naked human body. Ren Hang continues to stress the fact that he is “boring“. Especially when asked about those basic questions of his inspirational origins and meanings behind the photos, he always just smiles naively, shakes his shoulders and says, “I don’t really know. I never really thought about it.” Perhaps he is such a paver, heading towards the direction of happiness and creative freedom without realizing the pathways he has left behind. You might find him confusing and puzzling, but he has the ambience of such kindness that you would always trust that no evil can come out from him. He is merely a pure form of naked human beings. Source: ITSLIQUID
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Interview
Exclusive Interview with Josh S. Rose
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
Interview
Interview with Maureen Ruddy Burkhart
Photographer Maureen Ruddy Burkhart brings a quietly attentive and deeply human sensibility to her exploration of the world through images. Shaped by a life immersed in photography, film, and visual storytelling, her work is guided by intuition, observation, and an enduring interest in the emotional undercurrents of everyday life. With a practice rooted in both fine art traditions and documentary awareness, she approaches her subjects with sensitivity, allowing subtle moments to emerge naturally rather than be imposed. Her series Til Death, selected as the Solo Exhibition for February 2025, reflects this long-standing commitment to photography as a space for reflection rather than spectacle. Drawn to moments that exist just outside the expected frame, Burkhart’s images suggest narratives without resolving them, leaving room for ambiguity, humor, and quiet connection. We asked her a few questions about her life and work.
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