All about photo.com: photo contests, photography exhibitions, galleries, photographers, books, schools and venues.
FINAL DAYS TO WIN A SOLO EXHIBITION IN MAY 2026
FINAL DAYS TO WIN A SOLO EXHIBITION IN MAY 2026
Nicky Hamilton
Nicky Hamilton
Nicky Hamilton

Nicky Hamilton

Country: United Kingdom
Birth: 1982

Nicky Hamilton (British, born 1982), is a photographer and former Head of Art at leading advertising agency M&C Saatchi. His method is highly filmic, designing and building elaborate sets to create pictures of extraordinary detail and narrative. His work explores characters' emotional states by playing with performance and symbolism in order to produce deeply evocative moods.

The Lonely Man
The Lonely Man is a deeply personal project. The thirteen piece tableau explores my childhood relationship with my father, a relationship that was conducted through “a maze of police raids, guns, drugs, violence and, ultimately, redemption” after he was declared bankrupt in the 1980s.

In the early years my Dad started out as a builder. Things where simple, holidays where plenty and so was the laughter. In the mid 80s my Dad lost his business in a freak incident and had to declare himself bankrupt, post a recent purchase of a dream home he could no longer afford. Maggie Thatcher's reign had taken hold, the economy was weak and so was my Dad's judgement. He turned to crime and crime turned him into a drug addict who would one day call his son and ask me to prevent him from committing suicide
 

Inspiring Portfolios

Call for Entries
AAP Magazine #57 Portrait
Publish your work in our printed magazine and win $1,000 cash prizes
 
Stay up-to-date  with call for entries, deadlines and other news about exhibitions, galleries, publications, & special events.

More Great Photographers To Discover

Wayne Miller
United States
1918 | † 2013
Wayne Forest Miller (September 19, 1918 – May 22, 2013) was an American photographer known for his series of photographs The Way of Life of the Northern Negro. Active as a photographer from 1942 until 1975, he was a contributor to Magnum Photos beginning in 1958. Miller was born in Chicago, Illinois, the son of a doctor and a nurse, who gave him a camera as a high school graduation present. He went on to study banking at the University of Illinois Urbana-Champaign, while also working on the side as a photographer. From 1941 to 1942 he studied at the Art Centre School of Los Angeles. He then served as a lieutenant in the U.S. Navy where he was assigned to Edward Steichen's World War II Naval Aviation Photographic Unit. He was among the first Western photographers to document the destruction at Hiroshima. After the war he resettled in Chicago. He won two consecutive Guggenheim Fellowships in 1946-1948, with which he worked on The Way of Life of the Northern Negro. These images were published in his book Chicago's South Side 1946-1948,. This project documented the wartime migration of African Americans northward, specifically looking at the black community on the south side of Chicago, covering all the emotions in daily life. The people depicted are mostly ordinary people, but some celebrities appear, such as Lena Horne, Ella Fitzgerald, Duke Ellington and Paul Robeson. Wayne Miller taught at the Institute of Design in Chicago before commissioning a Modernist house for their growing family from architect Mario Corbett in Orinda, California in 1953. He was freelancing for Life and with his wife Joan also worked with Edward Steichen as an associate curator for The Family of Man exhibition and accompanying book which opened at New York City's Museum of Modern Art in 1955. Steichen selected eight of Miller's photographs, including two of the birth of the photographer's son, for the show which traveled the world and was seen by more than 9 million visitors. Miller died on May 22, 2013, at his home in Orinda, California, age 94, survived by his wife of 70 years, the former Joan Baker (January 21, 1921 – March 7, 2014), and children Jeanette Miller, David Miller, Dana Blencowe, and Peter Miller. The Wayne Miller Archive is held at the Center for Creative Photography (University of Arizona). Source: Wikipedia Born in Chicago, Wayne F. Miller studied banking at the University of Illinois, Urbana, while working part-time as a photographer. He went on to study photography at the Art Center School of Los Angeles from 1941 to 1942. Miller served in the United States Navy, where he was assigned to Edward Steichen’s Naval Aviation Unit. After the war he settled in Chicago and worked as a freelancer. In 1946-48, he won two consecutive Guggenheim Fellowships and photographed African-Americans in the northern states. Wayne Miller taught photography at the Institute of Design in Chicago, then in 1949 moved to Orinda, California, and worked for LIFE until 1953. For the next two years he was Edward Steichen’s assistant on the Museum of Modern Art’s historic exhibit, The Family of Man. A long-time member of the American Society of Magazine Photographers, he was named its chairman in the summer of 1954. He became a member of Magnum Photos in 1958, and served as its president from 1962 to 1966. His ambition throughout this period was, in his words, to “photograph mankind and explain man to man”. Having been active in environmental causes since the 1960s, Miller then went to work with the National Park Service. He joined the Corporation of Public Broadcasting as executive director of the Public Broadcasting Environmental Center in 1970. After he retired from professional photography in 1975, he devoted himself to protection of California’s forests. Along the way, Miller co-authored A Baby's First Year with Dr Benjamin Spock, and wrote his own book, The World is Young.Source: Magnum Photos
Julie Blackmon
United States
1966
Born in Springfield, Missouri, Julie Blackmon studied art education and photography at Missouri State University. She has received several national awards for her photographs, including commendation in the 2004 Santa Fe Center of Photography Project Competition, a merit award from the Society of Contemporary Photography, 2005 B& W Magazine Merit Award for Single Image Contest, 2006 1st Place for Domestic Vacations from the Santa Fe Center of Photograph Project Competition, 2006 Critical Mass Book Award Winner for Domestic Vacations, and recognized as American Photo’s Emerging Photographer of 2008. Her photographs are included in the permanent collections of the Kemper Museum of Contemporary Art, Kansas City, Museum of Fine Arts, Houston, Toledo Museum of Art, Portland Art Museum, Museum of Contemporary Photography, Chicago, among numerous others. About Domestic Vacations:The Dutch proverb “a Jan Steen household” originated in the 17th century and is used today to refer to a home in disarray, full of rowdy children and boisterous family gatherings. The paintings of Steen, along with those of other Dutch and Flemish genre painters, helped inspire this body of work. I am the oldest of nine children and now the mother of three. As Steen’s personal narratives of family life depicted nearly 400 yrs. ago, the conflation of art and life is an area I have explored in photographing the everyday life of my family and the lives of my sisters and their families at home. These images are both fictional and auto-biographical, and reflect not only our lives today and as children growing up in a large family, but also move beyond the documentary to explore the fantastic elements of our everyday lives, both imagined and real. The stress, the chaos, and the need to simultaneously escape and connect are issue that I investigate in this body of work. We live in a culture where we are both “child centered” and “self-obsessed.” The struggle between living in the moment versus escaping to another reality is intense since these two opposites strive to dominate. Caught in the swirl of soccer practices, play dates, work, and trying to find our way in our “make-over” culture, we must still create the space to find ourselves. The expectations of family life have never been more at odds with each other. These issues, as well as the relationship between the domestic landscape of the past and present, are issues I have explored in these photographs. I believe there are moments that can be found throughout any given day that bring sanctuary. It is in finding these moments amidst the stress of the everyday that my life as a mother parallels my work as an artist, and where the dynamics of family life throughout time seem remarkably unchanged. As an artist and as a mother, I believe life’s most poignant moments come from the ability to fuse fantasy and reality: to see the mythic amidst the chaos.
Wang Wusheng
China
1945 | † 2018
Wang Wusheng was born in the city of Wuhu in China's Anhui Province and graduated from Anhui University's School of Physics. Beginning in 1973, Wusheng worked as a photographer for a news magazine in Anhui Province. He studied at the Art Institute of Nihon University in Japan beginning in 1983 and studied for three years at the Tokyo Arts University. Wusheng currently works as a fine art photographer in Tokyo. For more than three decades, Wang Wusheng has been captivated by the beauty of Mount Huangshan, also called Yellow Mountain. Located in the southern part of the Anhui province in northern China, Mount Huangshan has often been described as the world's most beautiful and enchanting mountain. Over many centuries, this mountain, with its seventy-two peaks, has been the subject of Chinese landscape painters, whose singular works are so haunting make it appear impossible for these mountains to exist in nature. Inspired by the legacy of these paintings, Wusheng has sought to portray Mount Huangshan in his own way, expressing his "inner worlds" through this scenic wonder. Wusheng captures mist-shrouded granite peaks emerging from an ever-changing veil of clouds, sculptural craggy rocks on lofty cliffs and weathered, oddly shaped pine trees. He records the appearance of Mount Huangshan in all seasons and at various times of day. As one critic says, "[Wusheng's] pictures are gorgeous, but their beauty does not come directly from the natural scenery. Rather, the mountain's natural wonders have been transformed into artistic spectacles through the artist's commitment to the medium of black-and-white photography, his insistent pursuit of dynamic movement and metamorphic images, and his deep emotional engagement with his subject. His mountain peaks are often densely dark-a kind of velvet darkness that seems full of color."Source: Robert Klein Gallery World-renowned photographer, writer, and broadcaster Tom Ang wrote in 2014 in his book Photography: The Definitive Visual History published by DK this text about Wang Wusheng's art works: Oriental perspectives The fusion of classical Chinese fine art with photography was not achieved until the 1940s. It resulted in a distinctive approach to landscape by combining classical forms with a challenge to the Western representation of space. Photography had reached China and Japan by the 1840s, but long remained an imported art form used primarily by foreigners. Fundamentally it was alien to the aesthetics of Asian fine art. The fine detail of a photograph was at odds with the eastern tradition of depicting a scene with just a few brushstrokes. And whereas Eastern art dealt with symbols-mountains representing wisdom, water standing for the flux of life and so on- photography seemed unremittingly literal and heavy-handed to Asian eyes. Eastern art was also fixedly monochrome: black was Heaven's hue, and too much considered bad for the eyes. Three dimensions in two A further element foreign to Asian minds was the handling of perspective-how three-dimensional space was represented on the flat surface of a print or painting. In Europe, 15th-century thinkers, such as the architect Filippo Brunelleschi, showed that a geometrically accurate way to represent objects in space was to depict parallel sides as if they converged toward a vanishing point on the horizon. Early photography reinforced the dominance of this linear perspective in Western art. Classical Asian art was based on different models of space. It showed space with receding planes, in which a nearer object overlaps and covers part of a further object. This was joined to aerial perspective, which exploits how contrast and clarity naturally diminish the further away things are to express receding space. Asian pictorials By the 20th century. even artists in he West were rebelling against geometrical perspective, most visibly in the Cubist movement, which spilled over to montage effects in modernist photography (see pp. 142-43 and Pp.330-31). Finally, in the 1940s, Long Chin-San (also transliterated Lang Jingshan) in Hong Kong marked the first successful fusion of Asian with European modes. Trained in Photography by a brush-and-ink artist, Long considered a traditional painting "as a composite Image of fragmentary visual memories". From this, Long derived composite photographs using subtle toning and multiple printing techniques to place traditional elements such as calligraphically expressive bamboo shoots, leafless branches, and craggy rocks against a plain ground, suspending his subjects In an indeterminate space. Relationships between elements were defined by aerial perspective and overlapping receding planes. Minimal and calligraphic expressions also came naturally to photographers such as Jiang Peng, but Long's best-known students was Don Hong Qai. Modern interpretation China's Huangshan (Yellow Mountains) is a glaciated mountain range much venerated for its exquisite scenery of 72 steep peaks, often shrouded in mist. The Huangshan inspired its own school of painting, which made extensive use of aerial perspective, Wang Wusheng is a leading modern exponent of the style. Wang was working as a news photographer when he turned his attention to the Huangshan in 1973 In his photographs, he exploited the ultrafine grain of Kodak Technical Pan film to create a modern interpretation of inky-black silhouettes are grouped against the smoothly shifting swathes of mist, their softening tones deftly defining distance. This image is part of the Celestial Realm series, published in book form in 2005. In wang's contemporary interpretation of traditional Chinese black-ink painted landscapes, mist separates the deep velvety darkness of the sharply silhouetted rocks and trees in the foreground from the progressively fuzzier bands of trees and rocks.
Maurice Pellosh
Congo
1951 | † 2023
Maurice Bidilou was born on August 15, 1951, in Bouansa (formerly Le Briz). At the age of 16, he moved to Pointe-Noire to live with his brother. After taking on a few odd jobs, his uncle encouraged him to learn a trade. This led Maurice to a 19-month apprenticeship at "Studio Jeanot Père," which he began in exchange for a bunch of bananas, a demijohn of wine, a chicken, and 20,000 CFA francs. During this time, he mastered the art of being a portrait photographer, a craft that would become his lifelong passion. At the time, it was fashionable to have a nickname. Maurice explained that around the age of 11, he played with letters and came up with the word "Pellosh," giving it an American-sounding ending. Long before becoming a photographer, his friends and family were already calling him Pellosh—a name that seemed to foreshadow his destiny. [NB: In French, the word péloche (which sounds the same as Pellosh) means "film."] In December 1973, Maurice Bidilou opened his own photo studio, "Studio Pellosh," near the main market in a bustling neighborhood. The studio remained open until 2016. It quickly became a success. In addition to offering traditional ID photos, "Studio Pellosh" gained a reputation as the go-to place for families, couples, friends, and "sapeurs" eager to immortalize their happiness and symbols of success on film. In the evenings, Pellosh frequented bars, dance halls, and concerts, mingling with the Congolese youth reveling in their newfound independence. Across from Studio Pellosh, the bar-dancing club "Chez Fofo" became his favorite weekend hangout. During the 1970s, the Sape movement—The Society of Ambiance-Makers and Elegant People—was in full swing. The clientele of Pointe-Noire sought carefully crafted souvenir portraits to share with loved ones, often ordering enlargements. These photos became elaborate compositions featuring symbolic accessories of wealth (transistor radios, mopeds, books, cigarettes) and beauty (bags, sunglasses, hats, suits). Artificial lighting allowed for photography at any time of day or night. Starting in 1985, the disappearance of black-and-white development products in Congo forced Pellosh to transition to color photography. A decade later, the rise of digital photography signaled the inevitable end of his studio. Maurice passed away on May 25, 2023, surrounded by decor from his former studio, dozens of Kodak boxes filled with negatives, and photographic equipment. His death, at the age of 71, was caused by severe malaria and a hip fracture. He leaves behind his wife, Jackie, and their six daughters—Mauricette, Aude, Inès, Alida, Ghéraude, and Carmelle—as well as 17 grandchildren, all of whom are proud and dedicated to preserving Maurice’s legacy. Since 2020, this work has been championed by Emmanuèle Béthery, who has brought new recognition to Maurice's artistry.
Joe Vitone
United States/Italy
1954
Joe Vitone is a documentary fine art photographer and educator living in Austin, Texas. His work consists of large format portraiture and landscape in the United States as well as panoramic and other views examining cultures abroad. He is Professor of Photocommunications at St. Edward's University in Austin, Texas where he has lived with his family since 1991. He teaches traditional as well as digital photography and electronic media. He has received a National Endowment for the Arts fellowship in photography and been a Fulbright scholar in Costa Rica as well as a Fulbright Specialist in the Apulia region of southern Italy. In both Costa Rica and Italy, Vitone’s work centers around small-scale family based agriculture. In addition to presentations given in the United States, he has lectured on his photography in Australia, China, France, Germany, Hungary, Italy, Japan, Malaysia, Thailand, and Vietnam. Involved in international education, he has led American students on study abroad programs in China, France, Japan, and Thailand. With a focus on documentary photography, he has worked with students outside of the U.S. in Australia, Costa Rica, France, Italy, and Thailand. His work has been exhibited at a number of venues including one-person exhibitions at the Hungarian Museum of Photography, the Akron Art Museum, and the Instituto Cultural Peruano-Norteamericano. His work is held in a number of collections including the Cleveland Museum of Art, the Center for Creative Photography, the Museum of Fine Art, Houston, Hungarian Museum of Photography, and the Smithsonian Institution National Museum of American History. About Family Records: These photographs have been drawn from an ongoing series of 4x5 and 8x10 inch (10x12.5 and 20.3x25.4 cm) negative portraits called Family Records which was begun in 1998 to document members of immediate and extended families of the photographer and his wife. 2017 marked 20 years of work on the pictures. The majority of the portrait subjects live in an orbit around the Rust Belt city of Akron, Ohio, former home to the country's major rubber and tire producers including Goodyear, Goodrich, and Firestone. Doylestown, Barberton, and other rural communities neighboring Akron serve as locations for many of these images along with Akron proper. The photographs generate dialogues between one another at a number of levels, some directly, as in lineage and interpersonal relation of mother to daughter, father to son, or brother to sister, and some at less specific and more universal places as well. Comment is made on finding purpose or respite in what can be a painful life, on time and aging, on moving from childhood to adulthood, on relations sustained or lost through the years, on masculinity and femininity, on sensuality and beauty seen not only in youth but in age, and on our valuing of ourselves and others not only because of our strengths but, perhaps even more so, by reason of our vulnerabilities.
Jessica Todd Harper
United States
1975
Jessica spent much of her childhood wandering around museums with a sketchbook, copying paintings. This traditional artistic preparation took an unexpected course when she started making photographs as a teenager, but the familiar canvases of her childhood heroes -John Singer Sargent, Whistler, Vermeer- still have their influences today: she is interested in making intimate, psychological portraits, where the environment plays a large role. Jessica Todd Harper uses portraiture to explore the subtle tensions within daily family interactions and the complexity of human relationships. Her work is grounded in art historical tradition, but with a psychological undercurrent that marks its modernity. A silver medalist in the Prix de la Photographie in Paris (2014), she was an Outwin Boochever Portrait Competition prizewinner (2016) and selected that same year for the Taylor Wessing Portrait competition at the National Portrait Gallery in London. Her work will be significantly represented in Kinship, opening at the Smithosonian's National Portrait Gallery in late 2022, and running until 2024. Harper has published two prize-winning books of photography, Interior Exposure (2008) and The Home Stage (2014) (both Damiani Editore). Damiani’s third book of her work, Here, is due out in late 2022. HERE Like 17th-century Dutch painters who made otherwise ordinary interior scenes appear charged with meaning, Pennsylvania-based photographer Jessica Todd Harper (born 1975) looks for the value in everyday moments. The characters in her imagery are the people around her—friends, herself, family—but it is not so much they who are important as the way in which they are organized and lit by Harper. A woman helping her child practice the piano is not a particularly sacred moment, but as in a Vermeer painting, the way the composition and lighting influence the content suggests that perhaps it is. This collection of photographs presented in Harper's third monograph makes use of what is right in front of the artist, what is here, a place that many of us came to contemplate especially during the pandemic. Beauty, goodness and truth can reveal themselves in daily life, as in the Dutch paintings of everyday domestic scenes that are somehow lit up with mysterious import. Harper shows how our unexamined or even seemingly dull surroundings can sometimes be illuminating. Exlusive Interview with Jessica Todd Harper about her Book Here
Gabrielle Duplantier
Gabrielle Duplantier studied painting and art history at the university of Bordeaux in France. Photography was a hobby on the side. After her university studies, she decided to dedicate herself to photography and she went to Paris where she worked as an assistant for several photographers. In 2002, she felt the need to come back home. Inspired by the rich and enigmatic Basque country, she started a series of photographs where landscapes, animals or humans are revealed as impressionist visions, this body of work contains some of her best images. She pursues her work on portraits of women, one of her favorite subjects, and on Portugal where she travels regularly. Gabrielle’s photographic world seems voluntarily detached from all temporal or social reality. So her subjects or not really thematic, she is seeking beautiful images that exist outside of any context, on their own. She has already published 3 books, works with press, edition, she collabore with musicians, writers. Her work is also regularly exhibited. In 2012, Gabrielle Duplantier appears in MONO, edited by Gomma books, monography of the best contemporary black and white photographers along with artists such as Michael Ackerman, Trent Parke, Anders Petersen, or Roger Ballen... FNAC's Collection and privates Collections. Finalist Grand Concours Agfa 2003. Coup de Cœur Bourse du Talent Portrait, Photographie.com 2005. Finalist Parole photographique, Actuphoto 2008. Published in Photos Nouvelles, Shots Magazine, Gente di fotografia, Le Festin, Pays basque magazine, Geokompakt, Philosophy magazine... Discover Gabrielle Duplantier's Interview
Advertisement
AAP Magazine #57 Portrait
Win a Solo Exhibition in May
AAP Magazine #57 Portrait

Latest Interviews

Exclusive Interview with Matthew Finley
American photographer Matthew Finley turns inward, using photography as a way to explore identity, memory, and emotional truth. Based in Los Angeles, his practice moves between performance, gesture, and found imagery, creating a visual language that is both intimate and deeply personal
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.
Exclusive Interview with Henk Kosche
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.
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.
Exclusive Interview with Marijn Fidder
Marijn Fidder is a Dutch documentary photographer whose work powerfully engages with current affairs and contemporary social issues. Driven by a deep sense of social justice, she uses photography to speak on behalf of the voiceless and to advocate for the rights of those who are most vulnerable. Her images have been widely published in major international outlets including National Geographic, CNN Style, NRC Handelsblad, Volkskrant, GUP New Talent, and ZEIT Magazin. Her long-term commitment to disability rights—particularly through years of work in Uganda—culminated in her acclaimed project Inclusive Nation, which earned her the title of Photographer of the Year 2025 at the All About Photo Awards. She is also the recipient of multiple prestigious honors, including awards from World Press Photo and the Global Peace Photo Award. We asked her a few questions about her life and work.
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.
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.
Exclusive Interview with Peter Ydeen
Winner of AAP Magazine #45 Travels, his series reflects this unique vision—capturing the spirit of place through subtle layers of light, color, and emotion. Whether traveling abroad or observing the rhythms of his own surroundings, Ydeen creates images that feel both grounded and enchanted, inviting viewers into a world where reality and reverie meet.
Exclusive Interview with Julie Wang
Chinese-born photographer Julie Wang brings a poetic, contemplative sensitivity to her visual exploration of the world. Having lived for nearly equal parts of her life in China, Europe, and the United States, she approaches her subjects with the nuanced perspective of someone shaped by many cultures. This blend of distance, curiosity, and emotional resonance infuses her work with a quiet depth, allowing her to reveal the fragile beauty and subtle tensions that often pass unnoticed.
Call for Entries
Win A Solo Exhibition in May
Get International Exposure and Connect with Industry Insiders