Bulgaria boasts an incredible diversity of masks and costumes, preserved through the ancient tradition of Kukeri. These masks are used to conceal the wearer's identity and transform them into supernatural creatures, allowing them to enter the spirit world, chase away evil, and bring blessings to people, livestock, and crops. For Ivo's book project, Kukerland, he photographed these masked figures in various locations, creating a visual narrative connected to their home places, lifestyles, and histories. At the same time, Ivo let these magical beings live their own stories within their own surreal country.
This project explores the possibility of approaching photography from a painterly perspective. Rather than viewing photography as a threat to painting, it reinterprets and recontextualizes photography through the visual language and aesthetic principles of painting. This shift in perspective fosters a creative dialogue between the two media. Inspired by Hammershøi's style, the project aims to capture the introspective and minimalist atmosphere characteristic of his interiors, recreating all scenarios on a real scale.
Is there time for a forest bath when you work 12 hours a day? What role does fortune play in a destiny meticulously built with sweat? What battles are fought in the concrete jungle, and where does art fit into a schedule dominated by balance sheets? "Ganbatte" explores the juxtaposition and harmony between Japan's relentless work culture and its deeper essence, which calls for fortune, encourages spending time in nature, advocates for artisanal activities, and nurtures faith. This series was created using analog collages rather than digital manipulation.
Marcin’s series, titled "Other Worlds," is an ongoing project that has already yielded over 200 photographs. He aims to capture architecture from a unique perspective, challenging conventional views and inviting viewers to interpret each image in their own way. Whether showcasing an opera house, a bridge, or another structure, Marcin strives to present these landmarks in a novel and imaginative manner. His panoramic images offer an alternative vision of the planet, serving as a continual source of inspiration. This project has been evolving for over five years and remains in active development.
These photos were taken in the grasslands of Khovsgol Province in northern Mongolia. This region is renowned for its stunning grassland scenery and Khovsgol Lake, often referred to as "the pearl of Mongolia." The grasslands in Khovsgol Province are expansive, featuring rolling hills and vast, undulating landscapes. It is home to Mongolia's minority herders, including Mongolians, Tuvan people, and other groups such as Kazakhs and Darhad. The herders here rely on livestock farming as their primary source of income, maintaining a traditional nomadic lifestyle. The area is also a habitat for a variety of wildlife, including horses, cows, sheep, deer, wolves, and bears, and serves as a migration route for many species of birds.
There was a time when Helen’s life was put on hold. She endured a prolonged winter and a serious illness that left her unable to walk, making each breath a challenge and causing her to lose hope for a positive outcome. Her home was adapted for her needs, with a small refrigerator, microwave oven, and oxygen machine within reach from her wheelchair. The bathroom was also modified for accessibility. Trapped at home, Helen sought optimism in her surroundings and found inspiration in Patricia Schultz’s book 1000 Places to See Before You Die. As she envisioned future travels, she brought color to her world, finding solace and motivation in the idea of exploring new places.
In Silent Seas, Jean-Michel draws inspiration from Sumi-e, the Japanese ink painting tradition. This influence is evident in both the visual language of his work and the meditative nature of the process and its results. Sumi-e has shaped Jean-Michel's approach to tonality, subject matter, and composition, creating a new paradigm for his artistic vision. Crafting the images for this series has become a pilgrimage of sorts for him. He hopes that viewers will find a meditative quality in his work, offering a brief escape from the demands and rapid pace of modern life, as they reflect on the gentle abstraction of the images.
Kazmer is a term used to describe the small neighborhoods in Bulgaria where individuals who disregard human values and normalize criminal behavior are segregated. These areas house former inmates with diverse criminal histories, along with prostitutes and thieves, who constitute a minority within these neighborhoods. In this project, Vladimir aims to capture the darker aspects of human nature that we all possess and struggle with. His objective is to depict the atmosphere of life in Kazmer—the shadowy realms within our collective consciousness.
The "Pole Vault Minimal" series aims to present this highly aesthetic sport in a different light compared to traditional sports photography. The artistic, minimalist depiction is intended to stimulate the viewer's imagination. Seemingly freed from the constraints of gravity, pole vaulters appear to float through the images. As they ascend, they stretch and contort their bodies. At the highest point, they gracefully separate from the pole and glide towards the ground—even in failed attempts. Full bodies are not always visible, and facial expressions may be absent, yet the viewer can still grasp the scenario.
Bangladesh's struggle with global warming highlights the unequal impact of climate change. Rising sea levels and extreme weather events devastate its coastal and delta regions. The Sundarbans, a vital habitat rich in wildlife, faces the threat of submersion. Local communities are grappling with the loss of homes, land, and livelihoods. Health issues are on the rise as salinity and waterborne diseases spread. Climate-driven migration is escalating, with many seeking refuge in urban areas. The situation demands urgent and tangible action from the global community.
These images are part of an evolving series titled "Anonymous Women," created by Manuela over the last few months. She utilized vintage photographs, overlaying and pairing them with her own images to produce these "multiple exposure diptychs." Through this approach, she seeks to reinvent, retell, and reimagine aspects of each woman’s life and story. Inspired by her own family history and the lives of her two grandmothers, Manuela views many women of the past as unsung heroes whose faces and lives deserve to be remembered, seen, and highlighted.
