PICTORIAL STORY WILDCATS WINNING WOMEN March 26, 2021 PICTORIAL STORY Photography and story by Neville Newman Introduction by Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link When the first whistle blew on the field to mark the start of the Hamilton Wildcats Australian Rules Football match, little did anyone know that it would be the start of an incredible journey for Neville Newman. For over several years, Neville has been the official photographer of the Wildcats, capturing moments of joy and celebration from the passionate female football team in Ontario, Canada. From the highs of wins and the lows of losses, he has been there with his camera, documenting every single moment. Neville's role as photographer has been an essential part of the Wildcats' family. In winter, Neville spends his time in the darkroom, shooting and developing black and white film, while in warmer months, he concentrates on shooting 'footy'. His work brings out the character of each player and the unique spirit of the Wildcats. Neville has an impressive story to tell about his journey with the Wildcats, and we are lucky enough to have him here with us today to share it. So, let's join him on his incredible journey and get to know more about the Hamilton Wildcats Australian Rules Football club in Ontario, Canada. While Canada and ice hockey are synonymous, thanks to the efforts of Australian expats and their Canadian converts, ‘ Footy ’ (Australian Rules Football) has established an enthusiastic following with a thriving league in Ontario, teams all across the country and internationally represented from both men and women. I began shooting the Hamilton Wildcats as the club’s official photographer in 2016. Whilst the men’s team has been in existence for thirty years, the ladies only formed a team for the first time in 2012. For that and the following four years they would win a Grand Final berth, but be denied the flag. In 2017, things altered dramatically. With two influential players overseas in Australia and other team changes, the ladies were the recipients of the ‘wooden spoon’ (an award that is given to an individual or team that has come last in a competition). The ignominy was short-lived, however, and the Wildcats came back strong the following season, laying a foundation that would propel them to team history in 2019 when they took home the flag. In 2016, as I began photographing the team, there was no way of knowing that the following year would be a washout, a year that in retrospect only served to instill new determination in the team that would pay off with the 2019 flag. But all that was in the future. The team would make the Grand Final in 2016 but would not take the ultimate prize. 2018 just felt different. The ladies put the disappointment of the previous year firmly in the rubbish, and the team oozed confidence. There was a sense that they were in a rebuilding mode at so many levels. Every win is a celebration, but the renewed energy was shining through as the victories started to follow each other. Determination was the watchword throughout the buildup that began in 2018. It was a matter of contesting, no matter the odds. It was a psychological battle too. Every game was a reminder of defeats they had suffered the previous year. Although the ladies’ season ended with a semi-final loss that year, the disappointment would act as a spur in 2019 when they took home the first flag in the club’s history. Teamwork, having your mate’s back, is what successful footy is all about. It is also about taking advantage of the slenderest opportunities when they become available and making space where none previously existed. The club is a welcoming mob for new players. In 2018, Kendal Wales joined the crew having become smitten with footy when she left Canada to attend university in Australia. She brought her enthusiasm and effervescence to the side as it rebuilt and quickly became a stalwart. In 2019, her perseverance paid off as she was one of the team that lifted the flag. The social side of the club is as much fun as the footy. Awards nights, jumper presentations and alumni evenings are always a bunch of laughs. I like to catch some candid moments, and the combination of good spirits and good tucker gives me some excellent opportunities. The Wildcats’ ladies’ team might only have a nine-year history, but the club has made its influence felt in Australia too. Lia Vansevenant demonstrates typical Catters’ determination as, unfazed by this looming attack from Etobicoke Lady ‘Roos Victoria Baran, she successfully disposes of the footy. After spending the following year in Australia, she came back to be part of the club’s new era where she is the team’s coach. © Neville Newman She’s small but she’s mighty. Michelle Grynberg shows the emotion that infused the team in 2018 as she challenges Selina Amaral of Etobicoke’s Lady Roos for the footy. Nothing was going to stop her getting her hands on it even though she was outnumbered. © Neville Newman Lise Kiefer, with the footy, driving through a gap while Gabriela Arias shepherds away a threat from the opposition exemplifies the way in which the ladies’ team created the conditions in 2019 that resulted in them taking the premiership. © Neville Newman Along with the ecstasy must go the agony. Like any other club, the players have their share of injuries. No one could know at the time though, that this 2018 injury would signal the eventual end of Emily Spicer’s playing career. She came back from this one, but the damage was done. In early 2019 a torn ACL put her on the sidelines again and ruined her chances of being in the winning side. She has decided that her playing days are over, but once a Catter, always a Catter and the club will see lots more of her in different roles. © Neville Newman 2018 saw Lia Vansevenant back in the side after a year in Australia where, among other achievements, she represented The Northern Lights, Canadian women’s team, in the 2017 International cup. Always a fierce competitor, she is an integral part of the team and its leadership. © Neville Newman Don’t argue. Aware of an impending tackle attempt, Wildcats’ Kelli Gruhl performs her own brand of Richmond AFC’s Dustin Martin’s fend off on Etobicoke Lady ‘Roos’ Jenn Minchin. The move attitude symbolises the club’s attitude as they worked their way through 2018 and then stormed up to the 2019 Grand Final. © Neville Newman The club is a welcoming mob for new players. In 2018, Kendal Wales joined the crew having become smitten with footy when she left Canada to attend university in Australia. She brought her enthusiasm and effervescence to the side as it rebuilt and quickly became a stalwart. In 2019, her perseverance paid off as she was one of the team that lifted the flag. © Neville Newman Ainslie Pope’s story is now a club legend. She came to Hamilton from Australia in 2019 as a participant in a teacher exchange having never played footy in her life. She was introduced to the team and decided to give it a go where she played as if she had been born on the oval. From starting from nothing and eventually playing in a Grand Final winning team. How good can that be? Here, Ainslie lays a textbook tackle on Ottawa Swans’ Andrea James. © Neville Newman After playing against each other hard all afternoon in the semi-final, Wildcats’ Lia Vansevenant and Swans’ Kylie Marie advanced on each other for a little extra-curricular activity. Another Swans player acted as peacemaker to keep them apart. © Neville Newman Kendra Heil on the left, one of our former players now living down under, plays for Essendon in the VFLW women’s league and is part of their leadership team. Drafted by Collingwood originally, she suffered two torn ACL’s but her determination is beyond dispute, and her quite frequent return visits to awards' ceremonies here are a continuing source of inspiration to the club. Lia Vansevenant is drinking for both of them here. © Neville Newman Jacqueline Josephine, who spent a year in Australia with Lia Vansevenant, is the subject here, hamming it up a little as she sees me focusing on her. © Neville Newman Acknowledgements: Lia Vansevenant; Victoria Baran; Kelli Gruhl; Hailey Jones; Michelle Grynberg; Selina Amaral; Lise Kiefer; Gabriela Arias; Emily Spicer; Jenn Minchin; Kendal Wales; Jacqueline Josephine; Kendra Heil; Ainslie Pope; Andrea James; Kylie Marie. view Neville's portfolio Read an interview with Neville >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author, and are not necessarily shared by The Pictorial List and the team. read more stories >>> LAND, LABOR, AND THE GOLDEN FIBER In West Bengal’s jute fields, Rajesh Dhar examines the systems of land and labor, tracing how a single material sustains communities and informs a changing ecological future. WITH GRATITUDE AND DEVOTION A quiet and intimate account of devotion in Zaraza, Venezuela, Rafael Ayala Páez reflects on faith, memory, and community through photographs and words that honor the enduring power of small gestures. SILVER AND BREATH Within this fragile space between looking and being seen, Eva Christina Nielsen has developed a practice that is both restrained and deeply attentive. RUPTURE REPAIR REMNANT In this reflection on rupture, Donna Bassin invites us to consider how grief settles into the body and the image, and how the slow work of witnessing becomes a form of repair. DELTA DUSK John Agather weaves image and text into a single current, tracing how music, memory, and daily life continue to move through the Mississippi Delta. SILENT BEAUTY Tamara Quadrelli photographs the world by slowing down inside it. There is no rush to explain what we are seeing. The pleasure comes from staying with it. SOLITUDE UNDER A TECHNIFIED SUN Tracing the space between movement and stillness, Héctor Morón reveals a city that persists as human presence slips by. 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. 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CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion.

LA EDITION Step into the world of John Kayacan, where Los Angeles comes alive in cinematic frames—vibrant streets, hidden corners, and untold stories unfold in every shot, revealing the soul of the city. LA EDITION October 4, 2024 INTERVIEW PHOTOGRAPHY John Kayacan INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE John Kayacan discovered photography at fourteen when he picked up his parents’ camera and began capturing anything that caught his eye. This early interest soon turned into an obsession, shaped significantly by his discovery of Robert Frank’s seminal book, The Americans. This transformative experience shifted his perception of the world, turning every scene into a potential photograph and sparking a passion for documenting the streets around him. Immersing himself in the vibrant energy of Los Angeles, John found endless inspiration in the city’s sidewalks, stoops, and subway cars, developing a distinctive style with cinematic colors and soft frame vignettes. His dedication to capturing the beauty of everyday Angelenos, led him to art school and a career as a visual storyteller, creating a portfolio of work that reflects his unique perspective on urban life to provoke thought about what lies outside the frame. John reflects on eight years of photographic exploration, acknowledging the slow, deliberate process that street photography demands. His work shows his patience and keen eye for detail, qualities that have helped him build a compelling body of work over the years. As he continues his art, John remains grateful for the chance to pursue his passion and share his visual stories. In our interview with John, we explore his early influences, his artistic evolution, and his ongoing work as a photographer living in one of the most interesting cities in the world. Join us as we explore the mind and work of John Kayacan, a dedicated artist who captures the essence of urban life. “My work has a very extensive focus on street photography, and I believe it aligns well with the concept of bridging documentary with fine art. This interview features an array of images that spans across 8 years of my work.” IN CONVERSATION WITH JOHN KAYACAN THE PICTORIAL LIST: Welcome to The Pictorial List, John! Can you tell us how growing up and living in Los Angeles has shaped your view of the world and your artistic vision? How did your time at art school contribute to your development as a photographer? JOHN: Thank you for having me! Growing up in LA, I was always inspired by the city streets and the scenes of everyday life. When I first started street photography, I wanted to capture moments that seem spontaneous and unposed, highlighting a variety of human experiences; from people at work, in transit, or simply existing in their environments. I learned a lot at art school, the biggest lesson was that patience is the key to quality. I started my first long term project during my second year of college, and it taught me the importance of quality over quantity. Surround yourself with what you love so that feeling of inspiration will never leave you. TPL: Tell us what it was about that moment you read Robert Frank's book The Americans, and what was it about his photography that influenced your perspective on your photography and life? JOHN: When I first read that book, my entire perspective of the world changed. Everywhere I went I saw a potential photograph to be made. The simplicity yet sophistication of Robert Frank’s photography made me realize I wanted to do this for the rest of my life. TPL: We all face challenges and obstacles we could not have foreseen, what are some of yours, and how did you overcome them? What advice would you share? JOHN: My biggest piece of advice would be to be consistent and start off slow. Learn about what type of photography you enjoy doing and what sparks that desire to capture. TPL: Who or what are some of your other major influences on your photography today? JOHN: My biggest influences today would be Greg Gerard, Vivian Maier, and Richard Sandler. Watching movies as well, I do tend to use wide angle lenses when doing street photography, which helps to keep that “cinematic” aspect. TPL: What aspects of urban life do you find most compelling to capture in your work? How has your style evolved over the years, and what has driven that evolution? JOHN: Hmm, I’d say the moments of everyday life in different settings, from street vendors and late-night diners to intimate family interactions and bustling markets. I try to use soft focus, moody lighting, and muted colors to give the images a nostalgic, almost dream aesthetic, the quiet beauty and diverse experiences within the everyday. TPL: What are some of the key themes or messages you aim to convey through your photography? What do you want the viewer to experience from your work, what is their takeaway from their visual experience? JOHN: My approach to street photography is heavily influenced by my desire to connect with my subjects and the environment, often working instinctively to capture fleeting moments. Try to observe and understand your subjects. It will allow you to catch photos that are both authentic and evocative. Photography has become therapeutic; it seems the older I get. TPL: How do you balance your professional work with your personal projects? How do you make the time to go photographing? JOHN: Photography has become therapeutic; it seems the older I get. Makes me clear my mind and truly focus on what’s literally in front of me. So, making time for that is always a necessity. TPL: What are some of your favorite places to photograph in Los Angeles, and why? Outside of home, where is your next favorite? And what city is next on your Wishlist? JOHN: Hollywood boulevard would definitely be my favorite, unpredictable and always captivating. Feels like a whole new place every time I’m there. My favorite place to photograph outside of LA would definitely be anywhere in Mexico. I don’t quite know what’s next though, maybe somewhere still in California. TPL: Is it impossible for you not to be constantly on the lookout for a moment to be captured? JOHN: Probably. No, I’m joking, some of my favorite images of my own were caught while I simply had a camera in hand, no expectations ha-ha. TPL: What was the first camera you ever held in your hand, brought to eye, and released a shutter on? What is the camera you use now and your preferred focal length? Do you have anything on your Wishlist? JOHN: My first camera was a Nikon d3100, I started at 15 with no actual understanding of how the camera's quality would affect the image, that came a little later. The cameras I use now are a Ricoh GRiii and a Canon EOS R. My preferred focal length would be either 35mm or 28mm. TPL: Are there any special projects that you are currently working on that you would like to let everyone know about? What are some of your photography goals? JOHN: I’m in the early stages of my first documentary project hopefully get to start photographing for that soon, My biggest goal in photography is to inspire. TPL: When you're not creating your visual stories, what else will we find John Kayacan doing in his spare time? JOHN: Spending time with family. John Kayacan's work is anchored in a genuine love for the streets that raised him. His journey from a young teenager exploring photography with a simple camera to a dedicated visual storyteller reflects a commitment to capturing the everyday moments that often go unnoticed. With influences ranging from iconic photographers to the cinematic language of film, John’s work offers viewers a thoughtful reflection on the quiet yet vibrant aspects of urban life. In John’s photography, Los Angeles becomes more than a backdrop; it is an ever-evolving character that shapes his artistic expression. As he moves forward in his career, balancing personal projects with his growing portfolio, John continues to approach his art with patience and intent. Whether documenting the lives of Angelenos or embarking on new projects, he remains focused on creating work that not only captures reality but also sparks thought and connection. John’s story reminds us that photography is not just about the images we see but also about the unseen world behind the lens — the careful observation, the choices, and the stories waiting to be told. VIEW JOHN'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. 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PICTORIAL STORY UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. August 3, 2025 PICTORIAL STORY PHOTOGRAPHY Nasos Karabelas STORY Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link In his series Figures , Nasos Karabelas interrogates the human form as both subject and substrate, treating the body not as a static object to be represented, but as a mutable, expressive force capable of evoking the immaterial dimensions of thought and feeling. Born in Pyrgos, Greece, and now based in Athens, Nasos approaches photography not as a documentary device, but as a mode of emotional inquiry. His work unfolds at the intersection of photography, painting, and performance, resisting the notion of the camera as a neutral observer. Instead, it becomes an instrument for articulating the instability of perception, the fragmentation of memory, and the psychological weight of embodiment. Through the deformation of the human figure, Nasos opens a space in which inner states — often ambiguous and unresolved — can be rendered visible. “It started as an emotional need,” Nasos reflects. “I’ve always felt that the way we show ourselves on the outside doesn’t always match what’s going on inside. Distorting the body gave me a way to express that — the confusion, the movement, the moments when emotions feel too big or too unclear to put into words.” Positioned at the intersection of visual abstraction and emotional inquiry, Figures invites a reconsideration of how the body can be represented, encountered, and felt. What follows is an exploration of how Figures mobilizes photographic techniques to construct an image-world where psychological states take visual form and where the instability of perception becomes both subject and method. At the core of Figures lies a formally restrained yet conceptually radical intervention: the deliberate disruption of the human figure as a means of articulating what resists verbal expression. In this series, the body is not approached as a fixed subject to be depicted, but as a mutable site. One shaped by psychological rupture, transformation, and emotional residue. Nasos’ use of long exposure undermines the traditional photographic impulse to arrest time, instead allowing duration and instability to surface. What he captures is not the external likeness of the body, but the lived sensation of inhabiting one. “I think of time almost like a texture in my work,” Nasos explains. “Long exposure lets me go beyond the idea of a single, frozen moment. It brings in movement, which means I can show change, emotion, and instability — things that are always happening beneath the surface.” This reflects key ideas from post-structuralist and phenomenological theory: that the body is not a container of truth, but a fluctuating site of experience and perception. The result is a series of images where limbs smear into the dark, faces dissolve into formlessness, and the figure itself becomes a threshold between presence and disappearance. This conceptual logic is reinforced by Nasos’ restrained yet intentional visual strategies. Across the series, he employs blur, movement, and tonal minimalism to destabilize the body's legibility. His reliance on a monochrome palette displaces the figure from its representational anchoring. Occasionally, subdued color is introduced, most notably in the form of red, which acts not as decoration but as a rupture. “Color is a kind of interruption,” Nasos says. “It pushes the viewer to feel differently… it’s something that black and white alone can’t fully express.” Rather than serving as an index of identity or physicality, the body in these images becomes elusive, disarticulated. His use of darkness as an enveloping visual field further abstracts the body, isolating it within an existential void — a liminal zone where the viewer must fill in what cannot be seen. The material character of the images plays a critical role in this process. The use of grain, evoking analog processes, amplifies a sense of tactility and impermanence. In the black-and-white compositions, tonal contrast is pushed to its extremes: highlights glow, while shadows engulf. The skin is rendered not as flesh but as surface, subject to visual erosion. In this context, grain functions not merely as texture, but as a metaphor for instability: the image itself becomes a fragile membrane through which sensation, memory, and uncertainty flicker into view. The photograph becomes an emotive topology, mapping internal states onto blurred contours. Each composition operates as an autonomous psychic portrait, less about who is being depicted than what is being revealed. As Nasos conveys, “Since I include self-portraits, the work is definitely partly about me. But at the same time, the forms go beyond just one person. They represent feelings and struggles that many people share — like vulnerability, confusion, or change.” In this framework, the self is articulated as both singular and relational, at once introspective and emblematic of broader emotional terrains. The body, rendered unstable, becomes a conduit for shared psychological experience. Building on this, Figures may be understood as a form of visual resistance. One that challenges dominant visual paradigms predicated on clarity and stable identity. Nasos deliberately unsettles the viewer’s gaze, foregrounding the instability of perception and the fragmentary nature of selfhood. By disrupting legibility through movement and absence, the work subverts the photographic imperative to define and contain. Instead, it opens a discursive space wherein trauma, vulnerability, and psychological opacity are given form. As Nasos notes, “If I had to describe what Figures feels like, it would be like standing inside a moment of emotional uncertainty — like being in between clarity and confusion, presence and disappearance. There’s beauty in it, but also fragility.” It is precisely this interplay between formal experimentation and affective intensity that positions Nasos’ work as both conceptually rigorous and emotionally resonant — inviting reflection not only on what is seen, but on how it is felt. © Nasos Karabelas © Nasos Karabelas © Nasos Karabelas © Nasos Karabelas © Nasos Karabelas © Nasos Karabelas © Nasos Karabelas © Nasos Karabelas © Nasos Karabelas © Nasos Karabelas © Nasos Karabelas © Nasos Karabelas © Nasos Karabelas © Nasos Karabelas © Nasos Karabelas © Nasos Karabelas © Nasos Karabelas © Nasos Karabelas What Nasos Karabelas ultimately offers in Figures is not resolution, but an invitation to inhabit the image as a space of vulnerability and transformation. In resisting coherence, the work does not collapse into obscurity; rather, it opens up new possibilities for how the photographic image might function as a mode of embodied thinking. Figures does not seek to define the human form, but to question the terms by which we have come to understand it. The body, here, is not a conclusion but a question — unfixed, unresolved, and continually becoming. This refusal to settle into recognizable tropes of identity or representation gives the series its critical urgency. As the boundaries between self and other, surface and depth, presence and absence are made unstable, Nasos gestures toward a broader visual ethics, one that privileges emotional complexity over visual certainty. Figures chooses to withhold, to destabilise, and in doing so, to more honestly approach the ineffable contours of human experience. view Nasos Karabelas’ portfolio Website >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s and are not necessarily shared by The Pictorial List. read more stories >>> LAND, LABOR, AND THE GOLDEN FIBER In West Bengal’s jute fields, Rajesh Dhar examines the systems of land and labor, tracing how a single material sustains communities and informs a changing ecological future. WITH GRATITUDE AND DEVOTION A quiet and intimate account of devotion in Zaraza, Venezuela, Rafael Ayala Páez reflects on faith, memory, and community through photographs and words that honor the enduring power of small gestures. SILVER AND BREATH Within this fragile space between looking and being seen, Eva Christina Nielsen has developed a practice that is both restrained and deeply attentive. RUPTURE REPAIR REMNANT In this reflection on rupture, Donna Bassin invites us to consider how grief settles into the body and the image, and how the slow work of witnessing becomes a form of repair. DELTA DUSK John Agather weaves image and text into a single current, tracing how music, memory, and daily life continue to move through the Mississippi Delta. SILENT BEAUTY Tamara Quadrelli photographs the world by slowing down inside it. There is no rush to explain what we are seeing. The pleasure comes from staying with it. SOLITUDE UNDER A TECHNIFIED SUN Tracing the space between movement and stillness, Héctor Morón reveals a city that persists as human presence slips by. 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion.

CITY DOUBLE LIFE Using the beauty of black and white, Martin Agius sees the people as actors, performing for him within the scene he wants. CITY DOUBLE LIFE November 3, 2021 INTERVIEW PHOTOGRAPHY Martin Agius INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Martin Agius is a renowned photojournalist and street photographer with a remarkable career that has spanned decades. Born in Malta, Martin was exposed to the magic of photography at a young age. Starting his journey with the only medium available at the time – camera film – Martin soon found himself in the employ of the Armed Forces of Malta as their Official Photographer. After retiring from service, he made the transition to freelance photography and photojournalism for a leading newspaper. For the past ten years, Martin has dedicated himself to the creative art of street photography. His vivid images capture the geometries of his surroundings, from architectural aesthetics to the warmth and beauty of light and dark shadows. He views his subjects as actors within the scene, ‘performing’ for him in captivating ways that draw in the viewer. Martin’s works are renowned for their evocative power, making them must-see pieces of art. “I developed my way of street photography by using the geometries of the surroundings of the architecture with the harsh sunlight and beautiful dark shadows. Shooting very early in the morning or when the sun is going down, gives you long shadows and the nice golden light is magnificent.” IN CONVERSATION WITH MARTIN AGIUS THE PICTORIAL LIST: Martin please tell us about yourself. MARTIN AGIUS: I was born in Malta in 1966 and lived all my life so far on this tiny island. When I was 18 years old I joined the Armed Forces of Malta until I retired at the age of 44 years old. While I was still in the Army I did my first photography course back in 2008 I decided to take my photography to another level by enrolling for courses organised by the local photographic societies. In July 2009, soon after passing an accredited course in photography, I was appointed the official photographer for the Armed Forces of Malta. On retiring from the Armed Forces of Malta in 2010, I then began my career as a freelance photographer and as a photojournalist for a leading newspaper. In the same year, I was also asked to be the official photographer for ‘Gladiators Fight Night’ (a sports activity with local and foreign participants), a role I still have today. In 2012, I obtained an Associateship with the Malta Institute of the Professional Photography (MIPP) and subsequently abroad with the Societies’ Photographic Society in the United Kingdom (SWPP). The panel I presented for these qualifications where in the Fashion & Glamour genre. 2013 brought about a new experience for me when I was asked to judge a number of local and overseas competitions as well as qualification panels. I have been organising street photography workshops since 2015 and also lecture locally on Adobe Lightroom and Photoshop. I have also notched several Gold, Silver and Bronze awards in the Societies Monthly Competition (SWPP) and was also awarded the Societies prestigious UK Press & News Photographer of the Year. In November 2016, I organised my first solo exhibition called ‘Malta Street Life’ and also have had my works exhibited in Egypt, Greece, Italy, the United Kingdom, and in 2020, Japan. Some of the photos which are either published in local and overseas foreign media or in national and international competitions. TPL: How much does street photography in particular play a role in your overall photography experience. What is it that you love about this genre? Where or how do you find inspiration? MA: Street photography has become part of my life where I cannot live without it. I am fortunate that I am a photojournalist which helps in being very observant, act fast to shoot and also I get many street photography opportunities while on journalistic jobs. I developed my way of street photography by using the geometries of the surroundings of the architecture with the harsh sunlight and beautiful dark shadows. Shooting very early in the morning or when the sun is going down, gives you long shadows and the nice golden light is magnificent. In my opinion, this golden light enriches my images, even though I convert my images into black and white. I also underexpose a bit so I have those shadows darker but still have detail in them. I started the project 'City Life' over eight years ago when I decided that it was time to do something with my images. The name ‘City Life’ came to my mind for this project. Since I was shooting street photography this was what I was doing, documenting a city life. This is an ongoing project, which has evolved into my solo exhibitions, talks and even tutoring. I go out and practice street photography very often, doing research and studying light in the streets. Going out shooting and returning with nothing good will still be a success as the shoot served as a training session for my mind and eyes. Failure was not actually going out to shoot. While going around in the streets, I love listening to the sounds around me especially when it is very early in the morning and the place is starting to get up to the new day. Watching the people passing by, how the light falls on their faces. Who is in a hurry, because he is late or who is going slow because he is not hundred percent awake. Sometimes a sound gets your attention and you might get a photo opportunity. TPL: Talk to us about your double exposure work. What was the idea behind the series. What is it that you want the viewer to take away from your work? MA: I have started street photography by shooting everything that catches my eye, then I moved on to Fine Art street photography especially playing with harsh light and dark shadows. Living in Malta we get harsh light nearly all year round so this helps a lot and I wanted to make the most of it. I am always thinking about how to improve and be creative. I always loved seeing other photographers double exposures (which were not street related) and I always said to myself I want to try these. Then one day the idea came to do double exposures with street photography images. It was last year when the Covid-19 Pandemic hit the world that I decided to give it a try. I did my first double exposure with one image from Malta and one image from London. It is already hard enough to combine these kind of images and doing them with one image from Malta and one image from London is much harder but I wanted to continue with my ‘City Life – From Malta to London’ projects, talks, tutoring, workshops etc. The first image was a real success which won me many awards, a lot of appreciations and it was also chosen as a front cover for a street photography magazine, which was a great honour. TPL: What are some tips or advice you would give yourself if you started photography all over again? MA: First and foremost is to invest in yourself first by doing courses and workshops. Learning by yourself is good but if you want to improve and advance in photography you need to learn from someone. Joining a photography club helps a lot as they can guide you better and also they offer talks, competitions, critique and courses and workshops. Don’t be shy to show your images and get constructive critique. When you decide which genre you would like to practice then you can see what is the best equipment you can buy to help you more in that kind of genre. Equipment is not everything, it needs to be you and your eyes first. A good note to beginners is, that having a passion is not enough to improve and succeed but you also need to be disciplined and commit yourself. TPL: Do you have any favourite artists or photographers you would like to share with us? MA: I have a lot of favourite photographers who inspire me and also give me motivation. From the past, I admire Fan Ho, Henri Cartier-Bresson, Steve McCurry, Don McCullin, Saul Leiter and many more. Nowadays, I follow Umberto Verdoliva, Sean Tucker, Ando Fuchs, Kai Ziehl, Joshua K. Jackson and many others. TPL: When you are out shooting - how much of it is instinctual versus planned? MA: When I am out I am always looking for a clean nice background with harsh light and dark shadows for my Fine Art images but I also go around to find a character for my double exposures. So one can say that I practise both. I have learned to be the hunter and the fisherman while shooting street photography. Being a hunter was going around to find that candid shot or the right character passing by in the street. As a fisherman, it was finding a composition and background and wait for the right subject to pass. This requires a lot of patience, time and often the study of light and how it affects the areas I am shooting in. This included photographing scenes with harsh sunlight and deep shadows in a minimalistic way, using the drama of high contrast. When I see the scene that I like, I will top and study it, if I am lucky and the light is right I will wait for the right subject to pass, if not, when I get back home I go on the 'Photo Ephemeris' and calculate when it is the right time to go and shoot in that location. In fact, one location where I wanted to shoot in Valletta, Malta, it was only possible with help of the 'Photo Ephemeris' as when researching I found out that the light I wanted to shoot in, only lasts for about ten minutes and you have to also be lucky that the right subject passes in that narrow of time. While going around in the streets, I love listening to the sounds around me especially when it is very early in the morning and the place is starting to get up to the new day. TPL: Where do you like to go to photograph? MA: I visit London very often and I consider it my second home. I decided to do the project 'City Life' with a mixture of images taken in Malta (mainly in Valletta the Capital City) and London (being the Capital City of England). Malta is my home country and London, England my second home. Both places have an interesting mixture of old and new buildings and diverse cultures. Apart from street photography, I strive to document people and their way of life. In Malta it is very easy for me to shoot in harsh sunlight since we have the sun nearly all year round. In London, this is a bit difficult since the sun is not so common especially when I am visiting just for a week. This does not make me give up and I always try to find new stuff to shoot, like museums and the underground. In fact, I have included these in my project as you can also get great images with the geometries and the indoor lighting or a light coming in from a window or door. TPL: Does the equipment you use help you in achieving your vision in your photography? What camera do you use? Do you have a preferred lens/focal length? And, describe your editing process to us. MA: Well, I always believed that equipment is not everything. I learned to work with what I have. Ok, some genres of photography require certain equipment but one has to be creative first as the equipment doesn’t do the job for you. My all time favourite lens was always the Canon 24-15mm f/4 as it is an all-rounder lens, which I use in most of my work. Recently I bought the Canon R6 mirrorless camera with the 24-105mm f/4 lens and I love it. I also just bought the 35mm f/1.8 lens to have less weight to carry. I shoot from two paces away to very wide. I always keep the editing part of the images very near to the journalistic rules which is the nature of my work. I only crop, level and straighten, adjust the white balance, dodge and burn. I edit in 16 Bit and save in 8 Bit. I convert the images into black and white as I want to give the viewers the feel of the past and present as well as reduce colour conflict. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? MA: As always, I want to keep improving and be more creative. I am doing well in tutoring and talks locally and want to improve it as well. I am also looking for opportunities abroad for Talks, Workshops etc. I already did a few and also judged photography competitions in the United Kingdom but I would like to do more. I have recently started a Blog on my website and want to improve this. I also wrote some articles which were published in street photography magazines and also had some interviews like this one and podcasts. All in all, I am doing well and I want to keep improving this. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? MA: One of my other projects which are getting popular as well is called Street Photography Texture. It is a very simple one, I just add a textured image layer to a Fine Art Street Photography image using Blend Modes in Photoshop and you end up with a totally different style of image. TPL: "When I am not out photographing, I (like to)… MA: When I am not photographing or editing images, I like to read a lot about photography, watch Photography Blogs on YouTube and now I have started writing articles for my Blog and magazines. I also do meditation and listen to motivational stuff or read. These keep me inspired and help me be more creative. One final note ‘Never Give Up’. Martin's unique photography style captures the beauty of black and white and truly brings the people within his scene to life. He has the ability to capture moments of emotion and beauty that could otherwise be forgotten. Visit Martin's website and follow him on Instagram today to explore his stunning photography and witness the beauty he captures with black and white. VIEW MARTIN'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth.

My journey into photography started with a self-taught, street-photography focus, driven by my passion for travel. I later decided to deepen my knowledge by taking a photo reportage course at the 'Graffiti' School of Photography in Rome, under the guidance of photographer and photojournalist Gianni Pinnizzotto. This course ignited my interest for documentary photography, particularly in social and travel contexts. Today, I work as a collaborator for photojournalistic agencies ZUMA Press and NurPhoto, while also pursuing personal projects as a freelance photographer. My goal is to capture and share stories of people and places, whether near or far, through my unique perspective. TOMMASO STEFANORI My journey into photography started with a self-taught, street-photography focus, driven by my passion for travel. I later decided to deepen my knowledge by taking a photo reportage course at the 'Graffiti' School of Photography in Rome, under the guidance of photographer and photojournalist Gianni Pinnizzotto. This course ignited my interest for documentary photography, particularly in social and travel contexts. Today, I work as a collaborator for photojournalistic agencies ZUMA Press and NurPhoto, while also pursuing personal projects as a freelance photographer. My goal is to capture and share stories of people and places, whether near or far, through my unique perspective. LOCATION Rome ITALY CAMERA/S Fujifilm X-T100 WEBSITE https://tstefanori.wixsite.com/tommasostefanori @TOMMASO_STEFANORI

I am an American photographer of Indian origin, based in Northern Virginia, USA. Growing up in Kolkata, India, I came to the USA on a job visa, back in 1998. I have been taking pictures since the 1980s. My initial inspiration comes from the Indian filmmaker Satyajit Ray. From his films, I've learned the fundamentals of photography, cinematography, storytelling, composition, lighting, and many other essential techniques. PRADIP MAZUMDER I am an American photographer of Indian origin, based in Northern Virginia, USA. Growing up in Kolkata, India, I came to the USA on a job visa, back in 1998. I have been taking pictures since the 1980s. My initial inspiration comes from the Indian filmmaker Satyajit Ray. From his films, I've learned the fundamentals of photography, cinematography, storytelling, composition, lighting, and many other essential techniques. LOCATION Virginia, USA CAMERA/S Nikon D5600, Fujifilm X-T3 WEBSITE https://www.pkmphotography.com/ @_PKM_PHOTOGRAPHY FEATURES // The Holy River The Human Stage

My journey into the arts began with music. With a Level II Academic Diploma in Cello, I spent a decade performing as an orchestra professor and chamber musician, immersing myself in the world of sound, rhythm, and harmony. But creativity is fluid, and over time, my artistic expression found a new voice. For years, I worked in Visual Communication, always drawn to painting and the visual arts. Photography entered my life unexpectedly, a gift that sparked an unforeseen transformation. From the moment I picked up my first camera, I realized that I wasn’t interested in documenting the world as it is, but rather in reimagining it. Photography became my language — a way to translate emotions, memories, and perceptions into images that blur the line between reality and illusion. I began with documentary reportage, capturing moments of truth and human experience. But as my artistic voice evolved, so did my approach. My images now live in a space where layers of meaning intertwine, where elements dissolve and reconstruct themselves, creating fragmented realities that reflect my inner vision. This journey has led me to international recognition, with Honorable Mentions in competitions such as the Monochrome Photography Awards, ND Awards, Monovisions Photography Awards, Chromatic Awards, Tokyo International Foto Awards, IPA International Photography Awards, BIFA, and Trieste Photo Days. My work has been published in books and online magazines, further solidifying my place in the photographic world. LUISA MONTAGNA My journey into the arts began with music. With a Level II Academic Diploma in Cello, I spent a decade performing as an orchestra professor and chamber musician, immersing myself in the world of sound, rhythm, and harmony. But creativity is fluid, and over time, my artistic expression found a new voice. For years, I worked in Visual Communication, always drawn to painting and the visual arts. Photography entered my life unexpectedly, a gift that sparked an unforeseen transformation. From the moment I picked up my first camera, I realized that I wasn’t interested in documenting the world as it is, but rather in reimagining it. Photography became my language — a way to translate emotions, memories, and perceptions into images that blur the line between reality and illusion. I began with documentary reportage, capturing moments of truth and human experience. But as my artistic voice evolved, so did my approach. My images now live in a space where layers of meaning intertwine, where elements dissolve and reconstruct themselves, creating fragmented realities that reflect my inner vision. This journey has led me to international recognition, with Honorable Mentions in competitions such as the Monochrome Photography Awards, ND Awards, Monovisions Photography Awards, Chromatic Awards, Tokyo International Foto Awards, IPA International Photography Awards, BIFA, and Trieste Photo Days. My work has been published in books and online magazines, further solidifying my place in the photographic world. LOCATION Parma ITALY CAMERA/S Olympus E-M5 Mark II WEBSITE https://www.luisamontagna.com/ @LUISAMONTAGNAPHOTO FEATURES // That's How It Is

Seeking stories is my way of learning. Therefore, I think it is not a coincidence that my Sociology and photography education started in the same year. Capturing the sociology of everyday life brings me closer to photojournalism and documentary photography. Maybe that's why I'm looking for human faces, emotions and behaviour as much as I look for composition and light. Telling an ordinary thing through photography allows us to see it in a completely different way. What attracts me to photography is to witness so many emotions while documenting the events and to tell them as best I can. Narrating social movements, finding short street stories, and telling these stories cinematically makes me one step closer to the documentary subject I have been working on. When I moved to Antwerp from Istanbul 3 years ago, I returned to photography because I thought that the best way to learn a new city was to take pictures. I found a new topic every week and followed the traces of these stories in Antwerp. This inspired me to work on a documentary photography project. I am currently working on a documentary project about Crimean Tatar Villages because it is fascinating to imagine that even a single thing we observe will reach the history pages through us. NESLIHAN USLU Seeking stories is my way of learning. Therefore, I think it is not a coincidence that my Sociology and photography education started in the same year. Capturing the sociology of everyday life brings me closer to photojournalism and documentary photography. Maybe that's why I'm looking for human faces, emotions and behaviour as much as I look for composition and light. Telling an ordinary thing through photography allows us to see it in a completely different way. What attracts me to photography is to witness so many emotions while documenting the events and to tell them as best I can. Narrating social movements, finding short street stories, and telling these stories cinematically makes me one step closer to the documentary subject I have been working on. When I moved to Antwerp from Istanbul 3 years ago, I returned to photography because I thought that the best way to learn a new city was to take pictures. I found a new topic every week and followed the traces of these stories in Antwerp. This inspired me to work on a documentary photography project. I am currently working on a documentary project about Crimean Tatar Villages because it is fascinating to imagine that even a single thing we observe will reach the history pages through us. LOCATION Antwerp BELGIUM CAMERA/S Fujifilm X-T3 WEBSITE https://www.neslihanuslu.com/ @ANTWERPIST FEATURES // Sociology of Everyday Life

Be inspired by the photographers on the 2024 List. 2024 PHOTOGRAPHERS © Anna Tut ALEXANDROS ZILOS Athens GREECE AMY HOROWITZ New York UNITED STATES ANA-MARIA ALB Bukovina ROMANIA ANN PETRUCKEVITCH UNITED KINGDOM ANNA TUT Krasnogorsk City RUSSIA CARMEN SOLANA CIRES Madrid SPAIN CATIA MONTAGNA SCOTLAND/ITALY DASHA DARVAJ UMRIGAR Karachi PAKISTAN DEDIPYA BASAK Kolkata INDIA EDWIN CARUNGAY San Francisco UNITED STATES FRANCE LECLERC Chicago UNITED STATES ISABELLE COORDES Münster GERMANY JOHN KAYACAN Los Angeles UNITED STATES JUSTINE GEORGET Lyon FRANCE MARIETTE PATHY ALLEN New York UNITED STATES MATTHIAS GÖDDE Beckum GERMANY MEI SEVA New York UNITED STATES MIA DEPAOLA Washington D.C UNITED STATES NAZANIN DAVARI Tehran IRAN PAUL COOKLIN UNITED KINGDOM PEDRO VIDAL Barcelona SPAIN RAFA ROJAS São Paulo BRAZIL ROMAIN COUDRIER Marseille FRANCE ROWELL B. TIMOTEO La Union PHILIPPINES SASHA IVANOV St. Petersburg RUSSIA

NOSTALGIA In her own words Monika K. Adler tells a poetic and emotional story of an immigrant's remembrance of a life disrupted by war. NOSTALGIA December 2, 2022 INTERVIEW PHOTOGRAPHY Monika K. Adler INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Monika K. Adler is a celebrated photographer and avant-garde filmmaker whose work captures the struggles of life, the power of human memory, and the beauty of the natural world. Based in London since 2012, Monika was born in Poland, and graduated from The European Academy of Photography in Warsaw and the Wojciech Gerson’s National School of Fine Arts. After that she moved to Paris, where she photographed the life of the city and its artistic Bohemia, and had her first solo show. Living a vagabond lifestyle and travelling approximately 180 places in Europe and New York, Monika created a photography project called 'Travel no End', a poetic documentary journal of contemplating daily life in its deepest form, comprising of 200 prints. Her transgressive photography series, 'Chernobyl of Love', earned her international recognition for its thought-provoking portrayal of life in the wake of the 1986 nuclear disaster in Ukraine. Her poetic and experimental films have screened at several film festivals around the world, including the Edinburgh International Film Festival, International Film Festival Rotterdam, Hot Docs Canadian International Documentary Festival, and the San Francisco Documentary Festival. Monika uses her lens to capture emotions, revealing the truth behind her lens in captivating ways. She has been praised for her bold and daring approach to photography that pushes boundaries and encourages viewers to reflect on their lives. Her work is a testament to her love of storytelling and highlights her commitment to exploring the power of human connection and memory. As a master of her craft, Monika has skillfully utilized black and white photography to bring to life stories of identity, consumerism, sexuality, and history. Her most recent project, NOSTALGIA, is a powerful exploration of the resilience and strength of immigrants who have experienced war. Her work speaks for itself and conveys a deep appreciation for the art of storytelling. In her own words she tells a poetic and emotional story of an immigrant's remembrance of a life disrupted by war. “Cold earth and blackened gunmetal. Taking with you only the most precious and essential. Cast alone amongst thousands; forced, overnight, to leave their home, their family, their animals, and the places they love; fractious, precarious, putting their lives in the hands of strangers. You still feel it, every moment. It’s hard to forget who you used to be, and what was once yours. The new identity is painful, one described by your nationality, an absence, and the place where your heart still lies. Through memories, you belong to a different place, landscape, climate, and environment. In your homeland the seasons had another smell and colour; the rain felt different, the sun was warmer on your face; the fruit sweeter; the trees rustled unlike anywhere else. These surroundings shaped you, and made you remember who you are, and where you came from. You are a stranger in a new place. People don’t trust you. Under apparent kindness, eventually hostility will emerge. They don’t know if you are a victim or aggressor, but you are indifferent to their judgement. You are tied to your nostalgia, which kills you every day. Overburdened by memory, you dream about a return to the land where you left your soul. But is it possible? Will there be anything to come back to? Can your motherland still your home? Does a past life that was razed to the ground have any chance of being reborn? If so, in what form? How to recognise people you don’t know anymore? Will they recognise you? Will your memory survive in them, or will you be forever a stranger? How to forget those who suffered: killed, raped, displaced, and robbed of everything that is human? For how long should one remember the barbarity of the enemy, and how can we ensure their crimes will not fade from the pages of history books? How will they not become rationalised to people of good will? Will the world forgive and forget too soon? These invaders never respect occupied lands and the human beings who created their own worlds there. Filled with contempt and hatred, they wipe out every shred of past existence. They are ready to uproot every tree, annihilate every home, burn libraries, museums, galleries, bomb opera houses and theatres to install a new order, culture, and new language. Despite the immensity of their cruelty, no punishment has ever befallen them, or will. For history, the death of the masses means nothing. The games of clowns and psychopaths at war one day end. Weaponized human bodies are finite and cannot fight forever. The idea of peace sounds enthusiastic, but rebuilding takes time and wounds never heal. They will live on in the next generations, as trauma, and collective memory. Afterwards, is it possible to return, and to what end? What of those who had to flee somewhere to a foreign land, to start again amongst seemingly friendly people? Emigrant limbo: the state between two different pasts. Arriving in a new land is also history.” “In the end, it appears NOSTALGIA is a state between reality and sleep; a haven, a place of exile and eternal seclusion, where you can immerse yourself in a childhood landscape outside the contemporary narrative. A kaleidoscope. You shift the images in your head, one on top of another, and turn them upside down: colours, smells, sounds, feelings and events mix, one in the other. For a moment, you’re where you belong — no longer a stranger.” IN CONVERSATION WITH MONIKA K. ADLER In this interview with The Pictorial List, we speak to Monika to about how she arrived at this project and her journey into her passion for storytelling in her photography and her films. THE PICTORIAL LIST: Hello Monika, firstly please tell us something about yourself. What would you say first drew you to photography? MONIKA K. ADLER: I was born in Gostynin, Poland, during the late communist period. When I was 13, I left there to study art in Warsaw. Afterwards, I led a bohemian lifestyle travelling across Europe, and spent time in Paris and New York. Those years shaped me as an artist. Since 2012, I’ve worked in London on photography, video art, and film, and have exhibited and published around the world. I’m also working on a feature film: Sick Bacchus. What first drew me to photography? The pure joy of stopping time. TPL: How would you describe your photography, and what would you say you are always trying to achieve artistically? MKA: I work in black and white, conceptual, fine art photography that addresses the socio-cultural construction of memory, history and trauma, identity, and sexuality. In this, I’m interested in touching upon unseen truths: the ineffable. TPL: Talk us through the narrative of NOSTALGIA. When and how did this project first manifest for you? What was the inspiration? What journey are you taking us on? What have you learned from this project that has surprised you? MKA: Nostalgia tells the story of an immigrant’s remembrance of a life disrupted by war. The idea for the series came to me on 24 February 2022, when Russia invaded Ukraine, and thousands of Ukrainians headed to the Polish border. I felt a deep sense of identification with the experience of other Central and Eastern Europeans, and our shared history, that made me feel alive again, because the perfect world of consumerist London has a way of killing you inside. In the end, ‘Nostalgia’ reminded me of how Polish I am. It was profound. TPL: What importance does storytelling or key themes hold for you in your photography and filmmaking? MKA: Storytelling is crucial. It adds blood to the image and sets it in time and space. I believe in the strong relationship between photography, film, and literature. Everything around us has the potential to become a great story. I love uncomfortable narratives. The act of provocation is a life’s breath. TPL: Could you tell us how growing up in Poland has inspired your work today? What special qualities unique to your home country influence both your photography and filmmaking and the way you portray your community? MKA: History has somehow influenced the work of all Polish artists. We’re part of a bleeding wound which doesn’t heal across generations. I explore our national demons and mysteries through symbolic, dream-like, still and moving images anchored in the collective unconscious. TPL: There is an intimacy with your subjects, an up close and personal engagement. Do you know your subjects? Please tell us about the emotion you share with your subjects, and what this brings to your work. MKA: My subjects are close to me, for example: my husband Aeon Rose, yet their meaning in my work is not personal but universal. They function as everyman/woman. I’m there as an emotionless observer; the viewer’s omniscient eye. In nostalgia, every time you close your eyes, you reach home. You didn’t die, and you will survive. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? MKA: Stanisław Ignacy Witkiewicz (Polish writer, painter, philosopher and photographer active before World War I and during the interwar period), Francesca Woodman and Helmut Newton, rebellious and charismatic, inspire me; pure, and honest in exposing their longest shadows and deepest desires. This is the essence of an artist’s life. TPL: What are some challenges that you have faced as a photographer? MKA: I’ve had a hard experience, but I’ve already crossed and drunk from the River Lethe (the river of forgetfulness in Hades) and now I have so much freedom in my work that nothing and no one can challenge me. TPL: How do you educate yourself to grow in your photography? MKA: I feel developing your consciousness is an essential education in any creative work. You see into your inner self and the depth of your being, and it reflects in the images you produce. I study human psychology and metaphysics, and explore progressive dreaming. This establishes a foundation for ideas and shows us how to ‘see’ not just ‘look’ when you release the shutter. TPL: What was the first camera you ever held in your hand, brought to eye, and released a shutter on? For this project you photographed with an Iphone 7+, do you use any other equipment? How does this equipment help you in achieving your vision in your photography? Do you have anything on your wishlist? MKA: My first camera was PRAKTICA MTL3; a gift my father sent me from East Berlin, where he lived and worked in the late 80s. The last 12 years, I’ve used only iPhones. I don’t think that will change soon. TPL: Are there any special projects that you are currently working on that you would like to let everyone know about? What are some of your photography goals? Where do you hope to see yourself in five years? MKA: Nostalgia is a photographic diptych. Next year I’ll work on its second part. A two volume photography book will result. I’m also working on the completion of Sick Bacchus: a feature film. Where do I hope to see myself in 5 years? Let’s leave this open. I love the unknown. TPL: “When I am not out photographing, I (like to)… MKA: I write short stories and screenplays. To create them I study human nature. I read obsessively, not only good literature but also tabloids and historical newspaper archives from 1700s to 2000s. In between them, a brutal, almost vulgar existence merges with something deeper and more elusive. Monika K. Adler's photography and avant-garde films are a testament to her ability to capture the intricacies of human life through her lens. Her work encourages us to reflect on our lives and appreciate the power of human connection and memory. We thank Monika for sharing her intimate and pertinent story. Make a connection and be inspired through her photography. VIEW MONIKA'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth.

I am a portrait photographer and documentarian of cultural life, exploring how identity is shaped through artistic practice. Once a musician, I turned to photography after an injury ended my path in performance, finding in the image a new rhythm of expression. My work focuses on the unseen artists who give form to culture — dancers, musicians, and artisans whose daily devotion often passes unnoticed. Through light, gesture, and presence, I seek to reveal their humanity and the quiet strength behind creation. Each photograph is both recognition and record, transforming ordinary moments into stories that endure. ALEJANDRO DAVILA I am a portrait photographer and documentarian of cultural life, exploring how identity is shaped through artistic practice. Once a musician, I turned to photography after an injury ended my path in performance, finding in the image a new rhythm of expression. My work focuses on the unseen artists who give form to culture — dancers, musicians, and artisans whose daily devotion often passes unnoticed. Through light, gesture, and presence, I seek to reveal their humanity and the quiet strength behind creation. Each photograph is both recognition and record, transforming ordinary moments into stories that endure. LOCATION Pachuca MEXICO CAMERA/S Sony A6400, Canon T6 WEBSITE https://leksfr17.wixsite.com/alejandro-davila-1 @LEKS_PHOTO_TIME FEATURES // What We Are, What We Do

THE HUMAN EXPERIENCE Kevin To creates images that are reminiscent of the golden days of street and photojournalism with a modern twist. THE HUMAN EXPERIENCE May 28, 2021 INTERVIEW PHOTOGRAPHY Kevin To INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE The world of street and documentary photography has a new voice in Kevin To. With an eye heavily influenced by the photojournalists and humanists of the past, Kevin's work is a stunning reminder of what can be achieved when the camera meets life on the streets. His images capture the emotions and stories of everyday individuals, giving viewers a glimpse into a world they may never have experienced otherwise. Kevin has traveled extensively, using photography as his tool to bring stories and moments to life that are reminiscent of the golden days. Join us as we explore his creative journey and discover what inspires this talented artist. “What I want to express is the beauty and joy of everyday life. When working on a project or a specific story I try to expand that to include a wider range of the human experience.” IN CONVERSATION WITH KEVIN TO THE PICTORIAL LIST: Kevin please tell us about yourself. How did you become interested in photography? KEVIN TO: I was born in suburban Northern Virginia, just outside Washington DC. Was based in South Sinai for the past six months and now I’ve just arrived in Istanbul, Turkey. I grew up in a big family where my aunts, uncles, and cousins were all into some form of art as their hobbies, that form being mostly photography. Most them are landscape, wildlife and wedding photographers. But they were always taking photographs during family dinners and events, so it was inevitable that I picked one up sooner or later. TPL: Where do you find your inspiration? KT: I find a lot of it through film and music. But I also find a lot of inspiration through just talking to people. Hearing about their life experiences and their perspective on things, it helps me view things differently. TPL: What happens when you go out with your camera? Do people respond positively to you, or do you sometimes get negative reactions? If yes, how do you handle it? KT: I’ve found that when I take my camera out most of the time people respond positively. Occasionally negative reactions occur, and the easiest way to diffuse these situations is to smile and explain. I find that a conversation about what I’m doing and why I took a photo of the person tends to allow them to understand, and more often than not they leave with a smile as well. The initial reaction of “why did you take that photo of me!?” Really scares photographers, but that’s normal and if I wasn’t in a good mood I’d probably react the same way if someone did that to me. TPL: Do you have a favourite place to go and photograph? KT: Wherever I happen to be. My favorite images are definitely made when I’m traveling and when my eyes get to see familiar things in a foreign setting. New colors, sounds, smells, cultures, and energy levels put me into a creative flow. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? KT: Some of my favorite photographers include Philip-Lorca diCorcia, Juergen Teller, Andre Kertesz, and William Eggleston. Film directors I always revisit and love are Andrei Tarkovsky, Claire Denis, Lucrecia Martel, Wim Wenders, Wong Kar Wai. And so many others. New colors, sounds, smells, cultures, and energy levels put me into a creative flow. TPL: When you take pictures, do you usually have a concept in mind of what you want to shoot, or do you let the images just "come to you", or is it both? KT: If it’s a project then absolutely I have images in my head that I want to make. Telling a story through images is the same as writing one, so certain images that give context and move the story forward are essential. But If I’m just wandering about, then most of the time I let the images come to me, no matter the time or day. TPL: Does the equipment you use help you in achieving your vision in your photography? What camera do you use? Do you have a preferred lens/focal length? KT: The equipment does affect the way I shoot and how I go about achieving my vision. I shot mostly with film in the past but now since I’m traveling I’ve switched over to digital. The camera I grab most of the time is my Ricoh GR. It’s the perfect camera in my opinion, and it brings me the most joy with the most ease. The wide angle lens allows me to capture moments on the fly. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? KT: Some of my goals include having a solo exhibition in the future and have a few more books published. In five years I hope to be a photojournalist for an international photo agency like Getty Images or Reuters. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? KT: Currently I’m doing some research on the largest stateless nation, Kurdistan. TPL: When I am not out photographing, I (like to)… KT: Go swimming, cycling around the city, travel, and visit museums. Or just stay home with a good movie, a few cocktails, and some good company. Kevin creates images that are reminiscent of the golden days of street and photojournalism with a modern twist. We thank Kevin for sharing his photography and words with us. Please continue following his travels and inspiring work by connecting below through his website and Instagram. VIEW KEVIN'S PORTFOLIO Read GROWING UP ASSALA by Kevin >>> Website >>> Instagram >>> read more interviews >>> GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth.