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I am a street photographer from Cologne who creates a noir atmosphere by capturing isolated people in the tangle of the metropolis, leading viewers into a world of light and shadow. I specialize in sauntering the streets, ever seeking for the decisive moment, compelling forms and enjoying ordinarities. I was proud as punch when my work was digitally showcased at no less than the Venice Biennale in 2019. Packed with creativity, I am currently delving into new portraiture looks. ROUVEN KURZ I am a street photographer from Cologne who creates a noir atmosphere by capturing isolated people in the tangle of the metropolis, leading viewers into a world of light and shadow. I specialize in sauntering the streets, ever seeking for the decisive moment, compelling forms and enjoying ordinarities. I was proud as punch when my work was digitally showcased at no less than the Venice Biennale in 2019. Packed with creativity, I am currently delving into new portraiture looks. LOCATION Cologne GERMANY CAMERA/S Fujifilm X-E2 WEBSITE https://rouvenkurz.com/ @ROUVENKURZ FEATURES // Framing Geometries

CONNECTED DICHOTOMIES Tatyana Mazok's photography transcends art, weaving life's threads into evocative diptychs that reveal interconnected narratives, challenging us to see the beauty and complexity in our shared experiences. CONNECTED DICHOTOMIES July 5, 2024 INTERVIEW PHOTOGRAPHY Tatyana Mazok INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Emerging from the vibrant urban fabric of Minsk in Belarus, photographer Tatyana Mazok captures the essence of existence through her lens. With a rich academic background at Belarusian State Economic University, Tatyana tempered her mind with discipline, later infusing her artistic work with precision and passion. It was through photography that she discovered her authentic voice, a confluence of her diverse interests and her intrinsic identity. In 2019, under the illuminating mentorship of Elena Sukhoveyeva and Viktor Khmel, Tatyana’s creative flame was kindled, propelling her on a journey of exploration through the author’s school. Subsequent years saw her delve deeper into the nuances of the craft, navigating the realms of visual history at the Fojo: Media Institute Linnaus University and honing her cinematic eye at the esteemed ‘Marusina Masterskaya.’ Tatyana transcends mere technical skill. Her photography embodies the ability to capture the ephemeral, immortalizing the beauty of life’s transient moments. In her own words, “I shoot what I love and what interests me at a particular moment. And I get satisfaction from capturing the moment.” In her series “Connections,” Tatyana presents an introspective journey, using evocative diptychs to explore the complex web of relationships that shape our existence. Her lens thoughtfully transforms everyday moments into timeless reflections of beauty and self-discovery. Authenticity and emotional resonance are the cornerstones of Tatyana’s photographic philosophy. Her intuitive approach fosters a depth of immediacy and honesty, drawing viewers into her experiential narrative. Throughout the series, Tatyana deftly captures the ceaseless flux of the world around her. From the ever-shifting landscape of her urban surroundings to the subtle nuances of human interaction, each image serves as a testament to the ephemeral nature of existence. Yet, amidst the perpetual tide of change, Tatyana finds solace in the unchanging beauty of the natural world. As she eloquently observes, “The photos remain unchanged: family, nature, city and myself.” Central to the thematic fabric of “Connections” is Tatyana’s exploration of the myriad connections that bind us to one another and to the world at large. Tatyana skillfully reveals the hidden patterns of interdependence, sparking contemplation of our profound interconnectedness. Whether capturing the delicate symmetry of a family unit or the symbiotic relationship between humanity and the environment, Tatyana’s images serve as poignant reminders of our shared humanity. Beyond the visual allure, Tatyana’s work invites philosophical contemplation on memory and perception. She captures not just the world around her but also her personal experience within it, offering a unique perspective on the narrative flow of life and the resonance of visual storytelling. Join us in delving into Tatyana Mazok’s heartfelt photographic vision — a vision that extends beyond mere documentation, embodying the profound impact of photography as a conduit for introspection and discovery. “CONNECTIONS is a polysemantic name. On the one hand, there is an external visual connection between the photographs in each diptych: through color, compositional technique, and similarity. On the other hand, it is about the connection between human and nature, human and the city. And, how much they have in common. It’s also about my internal connection with each element in the photograph, because it’s all familiar to me: my beloved children, Belarusian nature, familiar roads and courtyards.” IN CONVERSATION WITH TATYANA MAZOK THE PICTORIAL LIST: Welcome to The Pictorial List Tatyana. What drew you to pursue photography as a form of artistic expression? TATYANA: At the very beginning of my journey, the technical part of photography was very difficult and took a long time for me. I slowed down and didn’t think about artistic language at all. I wanted to reveal all the technical secrets and, by pressing the camera button, produce beautiful masterpieces, filming everything. It was a great practical experience that led me to understand that photography can speak without words, speak for me, broadcast my inner feelings of the world around me. TPL: What role do diptychs play in conveying the interconnectedness of life in your work? How do you approach the composition and presentation of your diptychs to convey the connections you seek to highlight? TATYANA: Life and creativity are inseparable for me. In the diptychs there is an intensification of life. Moments from it. Let's just say, life twice: here it is life from frequent traces of birds on fresh snow and here is how the first rays of the sun covered a young face with freckles. They seem to be static objects, but they are a recording of what is happening in my life. The process of creating diptychs is always a unique event. It happens that one of the parts waits for its other half for two or three years. I don't deliberately shoot a frame in tandem with an existing one. I just take a photo of something, and then I scroll through it in my head and remember that once upon a time I already took a photo that would look incredibly good with it. Sometimes I make mistakes, but most of the time this exercise is successful. Can you imagine how great it is to bring together different years and different places? Of course, I pay attention to the composition of both parts. To enhance the effect, sometimes you have to crop the original frame. TPL: How do you incorporate elements of emotion and storytelling into your photographs to evoke a deeper connection with viewers? What emotions or messages do you hope viewers experience or take away from your photographs? TATYANA: I achieve contact with the viewer by close framing and large details. It turns out to be a kind of presence effect. The project is not difficult to perceive, visually calm in color, and it seems to me that every viewer will find in it something from their everyday life, memories from yesterday or today. I would also like the project to remind everyone of the beauty of every moment, of the value of our everyday life. TPL: How do you select the subjects or scenes that you capture in your photographs? What role does personal reflection play in your photography process, particularly in relation to your own connection to the subjects you photograph? TATYANA: Most often, my attention is attracted by lines, geometry, a fallen shadow, or my internal problem. I can walk and notice a fallen leaf, and now it’s already in the frame. I haven't photographed everything for a long time. And at different periods of my life my focus of attention changes. This gives food for thought - what is most important to me now. My inner experiences are transferred into photography. This changes the topic of research, working through a photograph of one’s feelings. This also affects the choice of color combinations in the frame. TPL: Can you share a memorable experience or moment that significantly influenced your approach to your photography in general? TATYANA: I had the experience of taking an amazing “Film Frame” course, where students watched films of one famous director every week, for example, “Kurosawa.” We analyzed the director’s visual language, his distinctive techniques, for what purposes and emotions they are applicable. And then they filmed their shoot using that language. Afterwards, I always thought about what I wanted to say with my shot, and what color, light, and compositional technique would help me with this. I also began to look at photographs of other authors, analyzing the author’s language. My photography serves as a documentation of my life. TPL: In what ways does your photography serve as a form of documentation or storytelling of your life and experiences? TATYANA: In general, all my photography is a document of my life. Whether I shoot self-portraits or my surroundings, this is all my little story. I show up in my photographs. You could say it's a photo diary. And, if they look back, this woman’s diary will talk about her mood, outlook on life, favorite color, some internal conflicts, joyful moments. And sometimes this diary has blank pages. TPL: Can you share any insights or lessons you've learned about yourself or the world through the process of creating “CONNECTIONS”? TATYANA: In the process of selecting photographs for the “Connections” project, I once again reminded myself of my inspiration and my content. Reviewing several years of archives, I have determined that my eye and my camera focus on what I love. I am filled with my family, the city I live in, trips to nature and myself. TPL: What drew you to study under Elena Sukhoveyeva and Viktor Khmel at the author’s school, and how did that experience influence your photography? And, how has completing courses such as ‘Photo History’ at Fojo: Media Institute Linnaus University shaped your understanding and approach to photography? TATYANA: At a certain point, I felt limited in my knowledge of photography. And how funny it is for me now, it seemed to me that I already knew so much. But I didn't know where to move next. In the direction. I was drawn to art, but there seemed to be a gap between us. I understood that I couldn’t handle self-education on my own; I needed a guide. In my search for a teacher, in reading reviews, in correspondence with graduates of Elena and Victor, I realized that this was what I needed. But I didn’t know that this would be the most difficult training, full of information, lectures, and deep immersion in project photography. A new, different world opened up for me, new names in the world of photography. Unfortunately, for a number of reasons, I was never able to complete my graduation project at this school. The knowledge gained here was structured in my head and rethought over the next three years. We can say that they were the basis for my design thinking and are still sprouting. The “Photo History” course, on the contrary, turned out to be easy for me to understand, but also deep in knowledge. A lot of material was filmed. I learned to speak through a series of photographs. My personnel selection process has changed, my view of topics that are of interest to society and other people, but not previously relevant to me, has expanded. But the main takeaway is to always choose what is important to you. Then working on history will be a pleasure. TPL: What other photographers or artists have influenced you, and how? What impact have they made in the way you approach and create your work in photography? TATYANA: I am firmly convinced that everything I saw and heard earlier in one way or another influenced me as a photographer. Something is filtered, something is analyzed and leaves an imprint. But I cannot pinpoint the authors who shaped my approach. I can name who I'm currently inspired by. Among the photographers are Jaume Llorens with poetic images of nature, Saul Leiter with his irregular framing, negative space, amazing color, Ilina Vicktoria - her portraits fascinate with light, contrast and deep emotion. I also really love the visual techniques of director Paolo Sorrentino. TPL: What do you hope to achieve with your photography in terms of personal growth? TATYANA: Great question! And of course I will be honest. I dream that my photograph will become part of the collection of MOMA, the Hermitage, and the European House of Photography in Paris. I dream of becoming one of the hundred most famous female photographers in the world. Loud, but that's how it is! TPL: When you are not creating your art through your photography, what else could we find Tatyana doing? TATYANA: I try to find time for everything that is dear to me. I used to sew a lot, embroider, and make jewelry. Now I read more, go to theaters, museums and of course spend time with my large family. PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. 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.

Photography is a therapy for me. Through my photos I express what I am, my soul, and my way to look at the world. LAURA BINAGHI Photography is a therapy for me. Through my photos I express what I am, my soul, and my way to look at the world. LOCATION ITALY CAMERA/S Nikon D3100 @DETAILS_OFMYLIFE01 FEATURES // Photo Therapy

PHOTO THERAPY Laura is a fine arts photographer who uses photography as her therapy. Through her whimsical captures, Laura expresses who she is. PHOTO THERAPY June 4, 2020 INTERVIEW PHOTOGRAPHY Laura Binaghi INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Fine art photography has the unique ability to capture emotion, beauty, and mystery. For Laura Binaghi, photography is a form of therapy. From her stunningly beautiful and whimsical captures, one can sense the soul of the artist and the way she experiences the world. Through her work, Laura gives us a glimpse into her innermost thoughts and emotions, providing an intimate insight into her creative process. By exploring her craft and mastering her technique, Laura has found a way to connect with the world around her and express what lies deep within. Join us as we explore the world of Laura Binaghi and discover how photography has become her therapy. “Let your soul speak and photograph.” IN CONVERSATION WITH LAURA BINAGHI THE PICTORIAL LIST: Laura, when did you start getting interested in photography? LAURA BINAGHI: I started four years ago, but in the past I had done a couple of years of analog photography. TPL: Has your style of photographing changed since you first started? LB: Yes a lot, I have started working on the composition. TPL: Who are your favourite artists? LB: Edward Weston, Ansel Adams, John William Polidori TPL: Where is your favourite place(s) to photograph? LB: All places and no places. TPL: Do you think equipment is important in achieving your vision in your photography? LB: I think that equipment only becomes important later, experimenting first counts. Every element of the visible world is a source of inspiration as long as the light touches it. TPL: What characteristics do you think you need to become a good photographer? What’s your tips or advice for someone in your genre? LB: Study the photos of great photographers and the technique of shooting and processing. TPL: Have you ever been involved in the arts before photography? LB: No, although I studied architecture. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? LB: Not yet. TPL: "If I wasn't photographing what would I be doing?... LB: I don't really know..." PORTFOLIO INSTAGRAM read more interviews >>> THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. 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.

PICTORIAL STORY IN-VISIBLE PAIN Isabelle Coordes makes the unseen seen — through black and white self-portraits, she reveals the quiet weight of chronic pain in a world that demands proof to believe. August 2, 2024 PICTORIAL STORY photography ISABELLE COORDES story MELANIE MEGGS SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link In this profound and evocative series In-Visible Pain , Isabelle Coordes delves deep into the enigmatic world of chronic pain, presenting a raw, unfiltered narrative through her art. This work is not just a collection of images; it is a visceral exploration of the silent, often misunderstood struggle that millions living with chronic pain endure daily. Isabelle, a self-taught amateur photographer from Münster, Germany, uses her keen eye and intimate understanding of human experience to make the invisible visible. Through black and white self-portraiture, Isabelle brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. Her photography transcends mere visual art; it is a compelling dialogue between the seen and the unseen, the spoken and the unspoken. In her images, we witness the haunting presence of pain, not as a mere symptom, but as a profound aspect of the human condition. In this project, Isabelle offers insights into her visual diary. Documenting her chronic pain over the course of several months was a transformative experience for Isabelle. In using her camera as a catalyst, she was able to shed light on the parts of herself that had never been visible before, revealing layers of stored trauma and grief. “When you become your own observer through the eye of the camera, you are gaining a new perspective on yourself. You may see yourself in a new light. You may even develop more compassion for yourself. And this can be a cathartic experience.” Isabelle's background as a Speech-Language Therapist and her extensive studies in Human Medicine, Psychology, Communication Sciences, and Linguistics enrich her photographic narrative. Her systemic approach to understanding humans within their social networks is evident in her compassionate portrayal of isolation and resilience. These themes resonate deeply in her work, reflecting her belief that no one is an island and highlighting the interconnectedness of our experiences. In In-Visible Pain , Isabelle’s camera acts as a mirror, revealing her inner struggles and encouraging viewers to join her on a personal journey. Her ability to capture the profound significance of her solitary existence and the intricate nuance of her pain demonstrates her deep empathy and keen observational skills. Each image serves as a testament to Isabelle as a visual storyteller, evoking deep contemplation and inviting diverse interpretations. “You cannot objectify chronic pain. It is invisible. No brain scan proves it; no blood test shows it. There is no evidence for the hell you are going through. It’s all in your head. And it is mighty real.” These words resonate deeply for many who suffer from chronic pain — a condition that defies conventional medical diagnostics and is often met with skepticism. Chronic pain is an enigma, a relentless tormentor that leaves no physical marks, no tangible evidence for others to see. It is a silent struggle, often dismissed as imagined or exaggerated. Yet, for those who endure it daily, its reality is undeniable. For Isabelle, chronic pain has been a relentless companion since childhood. “I have been suffering from chronic pain since I was a little girl. The fact that nobody found any explanation for it made it clear to me that I had to endure it. It became a given to me which I learned to ignore as much as I could.” This adaptation became a survival mechanism for Isabelle, an ingrained response to a world that didn't understand. Ignoring the pain became second nature, a necessary means to navigate life. However, chronic pain is not a consistent companion; it ebbs and flows, arriving unexpectedly and wreaking havoc on your daily life. Isabelle recounts years spent seeking every possible remedy, from medications to holistic approaches, all in the hope of finding a permanent solution. Yet, each attempt provided only temporary relief. “The pain always returned, more forceful, more frightening.” The burden of chronic pain rarely comes alone, turning life into a battle on multiple fronts. Despite these challenges, Isabelle remained determined to meet responsibilities and live up to personal expectations. Distraction became a coping mechanism, a way to push through the darkness. “Sometimes, the pain brought friends along, also known as Depression and Anxiety. It was getting more and more difficult to ignore it. Still, I kept myself busy with fulfilling my duties and meeting up with the standards I had set for my life.” But there comes a breaking point, a moment when the body and mind can no longer endure the constant strain. “Until I realized that my body was no longer willing to obey. Until I realized that medication no longer brought relief. Until I realized that I had to make room for the stuff I had been pushing down for so long.” This profound realization marked a turning point in her journey. This confrontation with reality took a profound and creative turn. Isabelle turned to self-portraiture, using the camera as a tool for introspection and revelation. “One step on the way for me was to make the invisible visible. In portraying myself throughout this process, I came face-to-face with my truth. I took off the mask and explored what was beneath it.” Through her lens, Isabelle uncovered layers of denial and avoidance, recognizing the vicious cycle of suffering. The camera became a mirror, reflecting hidden struggles that words could not capture. “My camera became the only witness when there were no words left. For the first time in my life, I saw how I kept myself stuck in a vicious cycle. I began to understand that the pain is nothing to be pushed against, nothing to be ignored, but instead: a messenger that deserves to be heard.” Embracing this perspective marked the beginning of a journey towards understanding and healing. By documenting the pain through self-portraiture, Isabelle has brought the unseen into focus, confronting the profound and personal truth of chronic pain. This powerful visual narrative not only offers a cathartic release but also invites viewers to witness and acknowledge the dismissed reality of chronic pain. In this body of work, we witness an artist bravely confronting her tormentor, turning her pain into a powerful visual and emotional narrative. The self-portraits uncover the hidden reality of chronic pain, inviting the viewer to witness and acknowledge its often denied existence. This work stands as a testament to the resilience of the human spirit and the transformative power of art in the face of profound personal struggle. © Isabelle Coordes © Isabelle Coordes © Isabelle Coordes © Isabelle Coordes © Isabelle Coordes © Isabelle Coordes © Isabelle Coordes © Isabelle Coordes © Isabelle Coordes © Isabelle Coordes © Isabelle Coordes Isabelle Coordes’ work is a beacon of hope and understanding. Born from a lifetime of enduring chronic pain, Isabelle’s work challenges the societal norms that demand physical evidence for validation. Her camera became a tool for introspection and revelation, unveiling the hidden layers of trauma and resilience that define her journey. “One step on the way for me was to make the invisible visible,” she reflects, capturing the essence of her artistic mission. Her dedication to portraying the diverse facets of life, coupled with her passion for connection, underscores the transformative power of art. As a member of Progressive Street and an ambassador for the 24hourproject , she champions the belief that together, we can be the change we want to see in the world. Ultimately, Isabelle invites us all to contemplate our perceptions of pain, empathy, and the transformative potential of visual storytelling. Her dedication to shedding light on the often-overlooked realities of chronic pain is deeply appreciated by The Pictorial List . We commend her unwavering spirit and commitment, which serve as a potent force for cultivating empathy and igniting profound social change through the medium of art. view Isabelle Coordes' 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 and the team. read more stories >>> ARE THOSE WINDS Along Istanbul’s northern edge, Ci Demi photographs the last water buffalo herders as they keep working, remembering, and staying put while the city closes in. COLORS OF HÜZÜN Through fragments and gestures, Pedro Vidal traces Istanbul as shared melancholy lingers in everyday life, the city unfolding slowly and refusing to settle into a single, definitive understanding. OUT OF PLAY An exploration of abandoned interiors in which Marco Lugli examines how objects, light, and space carry memory beyond human presence, establishing absence as a condition of material continuity rather than loss. REIMAGINING TALIESIN Form gives way to flux in Amy Newton-McConnel’s photographs, where architecture unfolds as a field of shifting relations and perception moves with light, geometry, and time. WHERE THE MUSIC BEGINS Before the strings, Jeevan Akash Jayavarthanan leaves the movement of the street for the rhythm of the workshop, where time holds, hands work, and each moment forms what will later be heard. 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.

LOOKING FOR SOMEONE OR SOMETHING? go search Price USD 99.00 USD 99.00 1 item found for "" THE PICTORIAL LIST: VOLUME ONE - NEW YORK $99.00 Out of Stock