THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. October 19, 2025 INTERVIEW PHOTOGRAPHY Kat Puchowska INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link The question of visibility, understood as whose lives are acknowledged and by what visual means, lies at the center of Kat Puchowska’s long-term project Morocco: The Rhythm of the Street. Between 2017 and 2024, Kat undertook repeated journeys across the country, moving through the winding souks of Fes, the hilltop terraces of Chefchaouen, the alleyways of Meknès, and the smaller villages of the Middle Atlas. Over these seven years, she has built an extensive archive of photographs that draw attention away from the language of state-led progress and toward the modest yet vital rhythms of survival and creativity that sustained daily life in Morocco during this period. Living between cultures, dividing her time between Spain and the United Kingdom after growing up in Poland, Kat brings a sensitivity to questions of belonging and identity that shapes how she approaches these spaces. Her perspective has also been shaped by years of travel to more than forty countries, experiences that sharpen her awareness of both the uniqueness of place and the quiet continuities that connect people across borders. For Kat, photography begins with an ethic of respect, a commitment to observing without intrusion and to letting daily life speak for itself. She works only with natural light and avoids staging or interference, positioning herself instead as a patient witness. The images she creates are the result of immersion and a careful negotiation between distance and intimacy. They emphasize process over performance, allowing labor to be seen not as a statistic or abstraction but as a lived reality embedded in social and cultural space. The photographs themselves operate at several registers. At one level, they document markets, alleyways, workshops, and gestures, the physical and social infrastructures of the informal economy. At another, they function as studies of cultural identity, tracing how clothing, architecture, and everyday interaction articulate Morocco’s layered histories. Kat’s own experience of navigating life across multiple cultural contexts, combined with her extensive travel, lends her work a particular attentiveness to these intersections, sharpening her awareness of how place and identity continually shape one another. Each photograph holds both the specificity of place and the broader universality of human endurance. Rather than isolated impressions, they accumulate into a composite record that is at once cultural and economic, showing how Morocco’s diverse histories are inscribed in everyday gestures while also revealing the dependence of entire communities on forms of labor that remain unacknowledged in official accounts of progress. Kat unsettles conventional economic storytelling. Her photographs invite us to think critically about how modernization is narrated, and whose labor is excluded from its metrics. What emerges is an argument for photography as a mode of counter-history, one that challenges dominant frameworks of visibility and insists on the importance of lived experience. As The Rhythm of the Street unfolds, the work reveals itself as one shaped by patience, empathy, and a deep respect for the lives it portrays. Kat’s Morocco is not a place of stereotypes or display, but of small gestures that carry weight: the rhythm of a market, the pause of rest in the shade, the quiet dignity of work done day after day. What follows is a conversation with Kat Puchowska about her project, her journey as a photographer, and the values that continue to shape her way of seeing. “Travelling abroad opened my eyes to the diversity of human life — the differences and similarities between cultures fascinated me. Learning languages and spending time in other countries made me want to tell people’s stories, to share experiences that might otherwise go unnoticed. Those early journeys shaped my approach: observing, listening, and capturing moments that reveal both individuality and shared humanity.” IN CONVERSATION WITH KAT PUCHOWSKA TPL: How did you first come to photography, and what role did it play in your life before it became a central pursuit? When you look back now, does that early period feel connected to the work you’re making today, or does it feel like a different chapter? KAT: I started photographing when I was 14. I loved capturing people. That early curiosity quickly grew into a deeper passion, and I decided to study photography at college and then at university. Over time, my focus gradually shifted from fashion to culture and documentary portraiture, but that initial fascination with composition, colour, and capturing personality still informs how I see the world today. TPL: Morocco has held your attention for seven years. What is it about this country that continues to draw you back? Do you feel your relationship with Morocco has changed as the project has unfolded? KAT: Morocco is endlessly rich in life and detail. Its streets, markets, and villages are full of people living at their own pace, negotiating daily life with resilience, creativity, and generosity. Over the years, my relationship with Morocco has deepened. What started as curiosity became familiar to me, and now returning feels like entering a rhythm of life I know but never take for granted!! Every visit reveals new gestures, exchanges, and moments that remind me why I keep photographing there. TPL: Was there a particular image or moment that crystallized what Morocco: The Rhythm of the Street is truly about for you? How did that moment influence the way you photographed afterwards? KAT: In Azrou, at a village market, I watched farmers, merchants, and neighbours trading and chatting - a space that embodies both daily life and the local economy. That day, I wanted to buy pomegranates, but the seller didn’t have change for my large notes. A woman who was standing close by bought them for me and wouldn’t accept my money. Even without speaking the same language, we shared a smile and a beautiful moment of connection. Experiences like this happened often in Morocco, and at first, I couldn’t understand how people who live more modestly than I do could be so generous and kind. Moments like these crystallise the project for me: dignity in everyday work, the warmth of community, and the beauty in small gestures. TPL: Street photography is often fast and opportunistic, yet your approach is slow and immersive. Was this a deliberate decision, or something that evolved naturally? KAT: It evolved naturally. I tried working quickly at first, but I realised my best images came when I slowed down, observed, and waited. I pay attention to details others might overlook - a glance, a gesture, a fleeting exchange. For me, photography isn’t about chasing moments; it’s about settling into a space until it reveals itself. I can say my style reflects who I am: patient, curious, sometimes shy, and interested in quiet truth rather than spectacle. TPL: How do you decide when to remain a silent observer and when to step into conversation or connection with those you photograph? Has engaging with people ever transformed the image you ended up making? KAT: I try to be sensitive and humble, aware of the space I enter. Often, simply observing is enough, but sometimes a smile, a few words, or a shared gesture builds trust and opens up moments I couldn’t capture otherwise. Engaging with people has occasionally changed what I photographed, revealing subtle emotions or interactions I might have missed. It’s a balance between respect, curiosity, and attentiveness. For me, photography isn’t about chasing moments; it’s about settling into a space until it reveals itself. TPL: Growing up in Poland and now living between Spain and the United Kingdom, and travelling to more than forty countries, how has this breadth of movement influenced your way of seeing, and what remains constant in the way you approach new places? KAT: Living and travelling across cultures has made me attentive to both difference and continuity. I notice the gestures, habits, and environments that are unique, but also the threads that connect people everywhere. What remains constant in my approach is respect and curiosity: observing without judgement, and giving people space to exist naturally, while still being present enough to notice the small details that make a story. TPL: How do you negotiate the balance between being an “outsider” and building a deeper connection with the communities you photograph? Do you see being an outsider as a limitation, or does it sometimes give you a perspective that locals might overlook? KAT: I see being an outsider as both a challenge and a gift. I can’t fully experience a place as someone who belongs there does, but I often notice details others take for granted. I approach communities with humility, openness, and respect. Building connection doesn’t mean pretending to belong; it means listening, observing, and trying to see the world through their eyes, while letting people remain themselves.🙂 TPL: Looking ahead, what do you hope your work will leave behind — for the people you photograph, for audiences, and for yourself? Do you imagine your photographs as part of a personal archive, a public record, or something more fluid that changes meaning over time? KAT: I hope my photographs give visibility and dignity to the people I document, celebrating the quiet strength of everyday life. For audiences, I want to inspire curiosity - to pause, look closer, and see the extraordinary in ordinary moments. In a world dominated by phones and distraction, where we often stay in our own bubbles, I hope my images encourage reconnection with others. I also encourage mindful travel: learning about other cultures, engaging with local customs, and seeking understanding. For myself, the work is a personal archive and a record of cultures in motion. By slowing down and noticing, I capture the intimate moments that bring these stories to life. TPL: Is there another place or project already forming in your mind, and where might your travels take you next? If we were to meet you three years from now, where do you imagine your camera will have taken you? KAT: Yes! I’m currently working on a project in Central Asia, focusing on Tajikistan and Kyrgyzstan. I’m fascinated by how traditions and daily routines unfold against dramatic, often harsh landscapes, and how communities adapt to scarcity, isolation, and change. In three years, I imagine I’ll still be immersed in this work, documenting the resilience, rituals, and quiet dignity of people whose lives are often overlooked in global narratives. At the same time, I remain open to new opportunities; sometimes projects find me, and I follow them wherever they lead. TPL: Every photographer’s bag says something about how they move through the world. If we were to look inside yours, what would we find — both in terms of tools and the small things you can’t leave behind? And is there anything still on your wishlist that you’re hoping to add one day? KAT: In my bag, you’d find my Nikon 750 with a 24–120mm for versatility, a 50mm for everyday moments, and an 85mm for portraits. I carry a notebook, translation apps or guides, and sweets for children, who often want my attention while I work. In the future, I’d love a telephoto lens and to expand into short films, capturing the flow and small gestures of everyday life in both still and moving images. TPL: When you are not photographing or travelling, what else might we find you doing? KAT: You’d probably find me walking in nature, spending time with loved ones, or simply sitting outside and watching people pass by. I’m always planning my next trips and keeping up with world news. I also love learning new languages; hopefully, one day I can master Arabic. I often go to live music concerts, which often inspire me. These moments recharge me and remind me why I’m drawn to photographing the world! - Please remember to be kind to other people 😊 Kat Puchowska’s Morocco: The Rhythm of the Street demonstrates how documentary photography can function as both record and reflection. Her images foreground the infrastructures of Moroccan everyday life and in doing so they unsettle the dominance of state-led narratives of development. What becomes visible is an alternative archive. Kat’s position, shaped by her own experiences across borders, inflects this work with sensitivity to belonging and difference, while her methodology of patience and respect affirms the ethical possibilities of photographic practice. As her journey continues into new geographies, the critical force of her work lies in its insistence that creativity and community are not peripheral but central to understanding how people inhabit the world. VIEW KAT'S PORTFOLIO website >>> instagram >>> read more interviews >>> 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. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices. DAYDREAM IN MEMORIES OF YOUTH Stephanie Duprie Routh's new book and exhibition serves as a layered visual diary that examines sensuality, through retrospection while examining the complexities of aging. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions.

Talking to photographers from around the world, offering an insight into their photographic journey to inspire us all. 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. INTERVIEW THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. INTERVIEW 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. INTERVIEW 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. INTERVIEW 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. INTERVIEW UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. INTERVIEW 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. INTERVIEW 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. INTERVIEW 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. INTERVIEW 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. INTERVIEW 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. INTERVIEW 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. INTERVIEW 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. INTERVIEW 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. INTERVIEW 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. INTERVIEW 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. INTERVIEW 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. INTERVIEW A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. INTERVIEW 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. INTERVIEW FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. INTERVIEW 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. INTERVIEW 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. INTERVIEW FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices. INTERVIEW DAYDREAM IN MEMORIES OF YOUTH Stephanie Duprie Routh's new book and exhibition serves as a layered visual diary that examines sensuality, through retrospection while examining the complexities of aging. INTERVIEW LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. INTERVIEW DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions.

I am a Polish-born documentary photographer based between Barcelona and the United Kingdom. My work explores identity, culture, and the human presence within everyday spaces. Over the past decade, I have travelled to more than forty countries, building a body of work that reflects both the uniqueness of communities and the quiet similarities that connect them. Working in an observational, unposed style, I let moments unfold naturally, guided by empathy and curiosity. I am particularly interested in how surroundings shape identity and how visual storytelling can create moments of connection across cultures. I am currently developing a series on the daily lives of people in Tajikistan and Kyrgyzstan. KAT PUCHOWSKA I am a Polish-born documentary photographer based between Barcelona and the United Kingdom. My work explores identity, culture, and the human presence within everyday spaces. Over the past decade, I have travelled to more than forty countries, building a body of work that reflects both the uniqueness of communities and the quiet similarities that connect them. Working in an observational, unposed style, I let moments unfold naturally, guided by empathy and curiosity. I am particularly interested in how surroundings shape identity and how visual storytelling can create moments of connection across cultures. I am currently developing a series on the daily lives of people in Tajikistan and Kyrgyzstan. LOCATION Barcelona SPAIN CAMERA/S Nikon D750 WEBSITE https://katpuchowska.com/ @KATPUCHOWSKA FEATURES // Threads of Moroccan Life

Be inspired by the photographers on the 2025 List. 2025 PHOTOGRAPHERS © Stephanie Duprie Routh ABDULLA SHINOSE CK Malabar INDIA ANTON BOU Montreal CANADA AYANAVA SIL Kolkata INDIA BETTY GOH SINGAPORE BUKU SARKAR Paris FRANCE CYNTHIA KARALLA New York UNITED STATES DAVID GRAY New York UNITED STATES EVA MALLIS New York UNITED STATES FANJA HUBERS Utrecht THE NETHERLANDS FUTURE HACKNEY London UNITED KINGDOM GIORDANO SIMONCINI Rome ITALY GUILLERMO FRANCO Córdoba ARGENTINA HIROYUKI ITO New York UNITED STATES JAY HSU Yilan City TAIWAN KAT PUCHOWSKA Barcelona SPAIN LUISA MONTAGNA Parma ITALY MASSIMO LUPIDI ITALY MATTEO BERGAMI Bologna ITALY MEERA NERURKAR Düsseldorf GERMANY NASOS KARABELAS Greece ATHENS PARISA AZADI IRAN & DUBAI PARVATHI KUMAR New Jersey UNITED STATES REGINA MELO Connecticut UNITED STATES RIVKA SHIFMAN KATVAN New York UNITED STATES SEBASTIAN PIATEK Duesseldorf GERMANY

We are on a mission to discover new photographers, and the most pictorial and interesting photo stories out there. SPOTLIGHT / Kat Puchowska Barcelona, SPAIN AARON RUBINO ABBIE BRIGGS ABDULLA SHINOSE CK ABHAY PATEL ABHISHEK SINGH ADAM SINCLAIR ADESH GAUR ADRIAN PELEGRIN ADRIAN TAN ADRIAN WHEAR AGATA LO MONACO AHMET HOJAMYRADOV AJ BERNSTEIN ALAN THEXTON ALESSANDRO GIUGNI ALEX FRAYNE ALEX GOTTFRIED BONDER ALEX RUTHERFORD ALEXANDRA AVLONITIS ALEXANDROS ZILOS ALEXEY STRECHEN ALICIA HABER AMY HOROWITZ AMY NEWTON McCONNEL ANA-MARIA ALB GET ON THE LIST © John St.

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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. 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. October 12, 2025 INTERVIEW PHOTOGRAPHY Anton Bou INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link In the work of Anton Bou, photography unfolds as both a method of inquiry and an act of exposure. A self-taught photographer who also carries the long practice of psychoanalysis, Anton situates his images in the fragile space where identity is less a fixed truth than a shifting encounter. His series It Started as Light…Ended in Shivers… reflects this search: photographs that oscillate between the intimate and the uncanny, between the momentary shimmer of sensation and the residue of fracture. Anton’s photographs resist conventional anchoring. They operate nomadically, migrating between personal memory, collective atmosphere, and visual estrangement. This restlessness mirrors his own life divided between Montreal, Mexico, and “other elsewheres,” where the camera becomes what he calls “a mouth that devours everything.” It is through this appetite for sensation that his practice navigates collapse and renewal, gathering fragments of self that remain in constant motion. What emerges is not a documentation of identity but a staging of its disintegration — a sustained inquiry into how we live through rupture, how we carry wounds, and how photography might bear witness to metamorphosis without resolution. In conversation, Anton Bou invites us to consider the photograph not as a mirror of self but as a trembling threshold, where presence dissolves into light and returns as shiver. “I feel a growing hunger to turn more intentionally toward human subjects — to give more room to slowness, to duration, and to the subtle shifts that occur when an obsession is allowed to unfold over time. Visually, I’m also curious to explore working more without flash — letting natural light and the shadows it carves guide my eyes differently. Concretely, I’m drawn to develop a practice that sits at the intersection of observation and encounter. I’d love to be invited into the homes of strangers, to return, to take my time. And through the mouth of my camera, to feast on whatever captures my attention — whether it belongs to the space itself or to the person who inhabits it.” IN CONVERSATION WITH ANTON BOU TPL: You describe yourself as “self-taught”, yet you also carry the discipline of psychoanalysis. How do these two worlds — photography and psychology — intersect in the way you approach your work? Do you find your photographs reveal things that theory cannot? ANTON: Your question makes me think that the term “self-taught” is quite reductive. It doesn’t account for the cultural influences that, in my case, have prepared me for photography. What it mostly means is that I didn’t go to art school and have no technical training in the field. However, I do have an academic background in clinical psychology with a psychoanalytic approach. My photographic method is actually inspired by the investigative method used in analytic clinical practice: “Say whatever comes to mind, just as it comes, without censoring yourself,” says the psychoanalyst to the patient. This method, known as “free association,” encourages a more dreamlike, intuitive, sometimes fragmented form of speech — and in fortunate moments, a speech that escapes familiar thoughts, those locked in celebreality or caught in consensus. I bring this openness to the instinctual and the unexpected into the early stages of my work. In a way, I tell myself: “Move toward whatever draws your attention and photograph it” — without any predetermined goal or project. Opening one’s attention to the unexpected, to what insists in spite of oneself: this is a psychoanalytic invitation that deeply inspires me. As for comparing my photographs to theoretical texts, I’d say my images are closer to the emotional speech of a patient (who expresses, who trembles, who is moved, without necessarily understanding) than to the theorizing discourse of a psychoanalyst. My photographs attempt to “capture” what has moved me; they present experiences of being seized and try to share them so that others may explore their own sensitivity —whereas theory often seeks to reveal through the thickness of understanding. As I’ve written elsewhere: I photograph, and I do not understand. So yes, I believe my photographs often reveal what theory alone cannot: a trembling moment that is felt, not explained. TPL: You’ve said your camera is “a mouth that devours everything.” Can you take us back to the first time you felt this appetite awaken? Has that appetite changed over time — does it hunger for different things now? ANTON: I imagine a long time — maybe a lifetime? — passed between the first emergence of hunger and the moment I was able to name it in a phrase. That early hunger, I imagine, is the one I carried as an infant — a baby who, at three months old, still longed to nurse even though the breast was no longer available. Revived through photography — or even thought through it — this idea of the camera as a mouth that devours everything came to me while I was obsessively photographing a Mexican village called San Sebastián Xolalpa. There, every morning, hot-air balloons would rise and fall. Goats grazed in open fields, magnificent clouds drifted overhead, vast hedges of cactus lined the roads. Unfinished buildings, concrete walls, fences, shadows, splashes of color...it was all there. And adding to this familiar estrangement, the Airbnb I had rented was a room inside a primary school — a school I was allowed to wander through alone on weekends. During my umpteenth visit, one evening at dusk, I found myself running across the fields to catch a shadow before it disappeared — a shadow I had first noticed on a previous stay and had been haunted by ever since. That was the moment I not only felt the hunger again but finally named it — almost like a mantra. Textures, displaced structures, wide-open spaces, animals, and saturated colors remain within the reach of this hunger. But lately, it has started to shift — toward human subjects. Toward the human being, who may very well resemble the original object of my hunger. And yet, I feel I still need many detours before I can fully direct this hunger toward another person — to address it to them. Who would be willing to let me circle around them for hours, again and again, to observe them from different angles, at varying distances, under shifting light? Or perhaps more to the point: am I ready to show myself as vulnerable — as hungry — in front of someone? These are my anxieties speaking now. TPL: Splitting your life between Montreal, Mexico, and “other elsewheres,” what role does movement and dislocation play in shaping your photographic sensibility? Do you feel more like an insider or an outsider when you’re photographing in each place? I think travel — especially travel defined by repeated returns to the same places — has become part of my creative method. It sustains a kind of destabilization I find necessary. For me, the challenge lies in finding the right tension between estrangement and familiarity. I am both an insider and an outsider. One of my nicknames, in fact, was once el local perdido — the disoriented local, or perhaps: the displaced insider, slightly off balance. For such a gaze to emerge, I need to become familiar with the places I photograph — no matter how far they are from the world I come from. I need to inhabit them as if they were ordinary, everyday spaces. Otherwise, I get caught in a tourist’s gaze — exoticized, disconnected, too stable in my status as a stranger. A German word comes to mind: der Nebenmensch — literally, “the human beside.” I love how this word holds both proximity and alterity, while also preserving a certain openness: “beside” is not a fixed point. And what if that’s the place I try to photograph from? I love when a series weaves together images from a Québécois island, the Sinai desert, and a Mexican city — and you can’t tell where each one was taken. “Beside” is a position that belongs everywhere. In my perspective, I must work both to come closer and to step away — to seek the foreign and to create the familiar. To stand just beside. TPL: Your project It Started as Light… Ended in Shivers… traces the collapse of self. What led you to work with this fragile territory? ANTON: I’ll begin with an image: a house standing on stilts. One day, the fragility of one stilt becomes apparent, and the house collapses. Not entirely perhaps — but a part of it buckles, warps, falls apart. In real life, that fragile stilt took the face of my Ph.D. advisor — and with him, the possibility of completing the thesis I had been working on for many years. That stilt also took the shape of academic success — the structure I had long entrusted with a part of my self-worth. In my first artist bio, I had written — a bit dramatically, in a Sophie Calle kind of way: “Out of the blue, at the moment to submit my thesis, my Ph.D. advisor let me down. What could I do but buy myself a camera, throw myself into the world, and hope for healing through the creation of images?” Pain, exquisitely rendered. TPL: Do you view the project as an ongoing process of transformation, or as a body of work with a distinct beginning and end? ANTON: So far, I see photography as an ongoing process of transformation — a movement driven by different forces and recurring sensations. As for the series titled It Started as Light..., I consider it complete. It has reached its own internal coherence — in rhythm, in color, in theme. It has found its edges, its saturation point. That said, the source it draws from has not dried up. It continues to manifest in different forms, feeding other currents. I think of photographs as complex systems. I see them as zones of confluence — where multiple energetic streams or invisible flows meet and become visible. So, I wouldn’t be surprised to see one or more images from that series reappear in another one — reorganized around different existential concerns, different sensuous forms. TPL: Do you see the photograph as a site of healing, or is it closer to an open wound? ANTON: I see photography — from the moment of capture to the moment of sharing — as a potential site of healing. At least, that’s how I’ve practiced it so far, to a large extent. In my experience, photography allows for the emergence of connections and resonances on many levels: between the mind and the sensing body, between the self and the world, between the invisible and the visible, between images and sensations, between images and other images, between sensations and other sensations... Not to mention the work of language that also gets activated in the process — through captions, statements, or other forms of articulation. That said, I don’t think healing necessarily means closure. Photography sustains a kind of disturbance — raw sensations, lingering traces of the wound — but all of this is held within a structure that also gives pleasure. Let me put it this way: a photograph is a wound edged with imaginary borders — so it can become something else. Why not? I photograph, and I do not understand. TPL: Your images feel nomadic, able to belong to a constellation or stand alone. How do you know when a photograph wants to be solitary, and when it longs for relation? ANTON: I think they all long for relation — but sometimes it takes time to find the right counterpart(s). To me, that’s what nomadism is about: not a refusal of belonging, but a sustained openness to possible resonance. Solitude, in that sense, is not antithetical to connection. It’s simply part of the journey. Series form gradually. Well, at least, that’s how It Started as Light... came together. Or perhaps it’s better to say: to the solitude of images, something gets added — a moment of resonance, suddenly heard. It’s hard to put into words, but suddenly there’s a sense of conviction: “this fits,” “this belongs together.” That’s when something starts to coalesce — not through logic, but through a felt sense of belonging. TPL: Do you work intuitively in the moment, or do you find yourself consciously constructing images to test certain ideas? ANTON: I usually work intuitively, in the moment — drawn by a feeling of attraction toward a scene or a detail. Something calls me, and I seize the opportunity. Later, if the situation allows, I may spend more time constructing the composition or even introducing more intentional staging — either right then, or by returning to the same place and continuing to study it. For example, the opening image of It Started as Light... — the torn gate facing the sea — was taken instinctively, during my very first encounter with that fence at sunset. Still, I returned to that location several times, photographing it from different angles, using natural light and flash. Yet that very first image remains my favorite. By contrast, the photograph of the man lying on the ground resulted from a more elaborate staging process. In that same space, on the carpet, I had previously done a shoot with another model — and afterward, that session sparked ideas for scenes I hadn’t yet realized. I decided to try them with a second model: my father. Initially, I envisioned him nude, but sensing his hesitation, I shifted toward a different kind of styling — an office-worker outfit, more aligned with my dad’s comfort zone. That photo session was, quite literally, the Christmas gift I had asked for that year. TPL: Do you see your work as autobiographical, or do you imagine it as a stage where anyone’s sense of self might enter and fracture? ANTON: Not autobiographical, no. If anything, the word autographical would better describe my approach. I borrow it from the psychoanalyst Jean-Bertrand Pontalis, who used it to describe a kind of writing that, through the act of writing itself, gives rise to a ‘’self’’ - not by recounting a life, but by forming a subjectivity in the act. In other words, my aim is not to tell the story of my life through photography. I don’t use these images to narrate the loss of my thesis advisor, nor do I use them to objectively document the geographical journeys during which they were taken. And I don’t believe that, to connect with my work, viewers need to have lost a thesis advisor themselves or even know the physical location where a given photograph was made. If I have a goal — beyond the immediate pleasure of making images — it is to feel myself into being by visually writing something. To write it from an inner vibration, reawakened through an encounter with a fragment of the world, be it living or inanimate. I hope that this attempt at being might leave enough of a gap for others to feel something too — something that concerns them. TPL: How important is ambiguity in your practice? Do you resist clarity, or is clarity simply not the point? ANTON: I don’t know if I resist clarity. To put it somewhat allegorically, I’d say I mostly fear North Korea — or rather, what North Korea shares with certain aspects of our own Western ways, as societies and as individuals, perhaps less destructively but still disturbingly. The totalitarian tendency. The freezing of ideas. The way things settle into immovable certainty, never to be questioned again. I fear the death that becomes embedded within life. Maybe it’s human — terribly human — to freeze what’s in motion, to seal the void that makes a subject possible. If my work sometimes carries an ambiguous effect — in the photographs, or in the texts — it might be a consequence of my leaning toward openness: openness to multiple possibilities, openness to complexity. It’s also surely a consequence of what, within me, remains untamed. TPL: Are there artists — visual or otherwise — who have helped shape the way you think about photography? Do you see yourself in dialogue with these influences, or resisting them? ANTON: I believe every new photograph — or any new visual or written work — that moves me somehow reshapes both the way I see and the way I understand what it means to photograph. More specifically, I deeply admire the work of Jason Fulford. His images, at once simple and striking, often carry me into that zone of familiar strangeness I’m drawn to — where things quietly creak, where coordinates begin to slip, where the everyday feels ever so slightly askew. My work with my mentor Colin Czerwinski has also been a major source of inspiration: he encouraged me to photograph without preconceived ideas, to trust my gaze, and to let the images themselves generate meaning — through their own force and visual resonance. Beyond photography, several thinkers from psychoanalysis and the humanities silently accompany my process: Roland Barthes, Sigmund Freud, Jean Laplanche, Jean-François Lyotard, Michel de M’Uzan, Cynthia Fleury, Jean-Claude Rolland, Francis Ponge... Even if most of them did not write directly about photography (except Barthes), their reflections on the human psyche and its unconscious depths, on the creative act and its ties to archaic, pre-verbal vitality, resonate deeply with my practice. And the work of Sophie Calle — both performative and intimate — remains a major source of inspiration. TPL: When you’re not behind your camera, what are the other passions or simple enjoyments that shape your days? ANTON: When I’m neither behind the camera nor sitting in a consulting room — as a psychologist or as a patient — there’s a good chance you’ll find me in an indoor cycling class, putting into action what my Instagram handle suggests: spinning to sublime. I also write a lot — fragments, reflections, and sometimes dreams. Writing helps me metabolize the world differently, with words rather than light. Otherwise, I find a lot of comfort and joy in simple evenings with a friend — cooking, laughing, talking. Just being present in those shared moments. Anton Bou’s photographs linger in the in-between, where self dissolves into sensation and images become thresholds rather than mirrors. They remind us that to see is also to be unsettled — to step beside certainty and into the trembling space of becoming. His photography moves beyond documentation, becoming a vessel for feeling. To experience the full breadth of Anton Bou’s vision is to enter this shifting terrain for yourself. See more of their work through the links below. VIEW ANTON'S PORTFOLIO instagram >>> read more interviews >>> 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. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices. DAYDREAM IN MEMORIES OF YOUTH Stephanie Duprie Routh's new book and exhibition serves as a layered visual diary that examines sensuality, through retrospection while examining the complexities of aging. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. 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.

PURSUIT OF STILLNESS Maarten Rot's photographs reveal abstract qualities that can be found in everyday life, often with architecture as a prominent ingredient. PURSUIT OF STILLNESS October 2, 2020 INTERVIEW PHOTOGRAPHY Maarten Rots INTERVIEW Karin Svadlenak SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Maarten Rots is a Dutch visual artist working with photography as a medium. His photographs reveal abstract qualities that can be found in everyday life, often with architecture as a prominent ingredient and a strong focus on composition, texture and colour. He started out with the production of short videos, many of which were screened at film festivals around the world, but by 2015 still photography had become his preferred medium. Maarten travels around Europe in his camper van in search of abstract images in daily surroundings. His work has been exhibited in numerous publications and platforms, and now we are honored to bring you this interview with Maarten, in which we explore his motivations, inspirations, and creative process. Join us as we discover the captivating world of Maarten Rots. “Many of my photographs are composed of a rather rigid set of ingredients; I like to play with a limited colour palette, the effects of light and shadow and I have an interest in textures. I enjoy it when a situation isn’t too clean, a weathered surface indicates the wear and tear through time, adding a hint of history to the overall picture.” IN CONVERSATION WITH MAARTEN ROTS THE PICTORIAL LIST: Maarten please tell us about yourself. You have a degree in Fine Arts and started out as a film producer, quite successfully. Your films have won awards and have been screened at many film festivals. What made you decide to move your primary focus to photography? What is it that drives you? MAARTEN ROTS: I’m originally from a relatively small town in the countryside in the East of the Netherlands called Aalten. When it comes to art there wasn’t a lot around, but I always enjoyed creating things. I used to make flyers for concerts in the area and was the vocalist in a punk band for about 10 years. After going to graphic design school I eventually ended up in Amsterdam where I attended the Gerrit Rietveld Academie. Technically I still live in Amsterdam, but for the past 5 years my wife Anne and I have been travelling with our campervan through Europe a lot so it doesn’t really feel like I still live in Amsterdam. I have always had an interest in still photography and used photography in my work, but I never had the intention to have a photograph become the final work. When my video camera broke I decided to replace it with a DSLR to be able to film and also take photographs and from that point on I quickly transitioned into photography. It wasn’t a choice at that moment, it just happened. But I was always serious about it. I still really had to develop my photographic skills and wanted to become more deliberate about what I photograph. To speed up that process I came up with a project called ‘Siting’ which had a set of rules. For one week I had arranged a gallery in Amsterdam to be my temporary workspace and restricted myself to photograph in a one-kilometre radius around that space only. Each day I chose one photo that would be printed on a large size and exhibited at the gallery after those seven days of photographing. Quite a bit of pressure, a lot of fun and it worked out really well, I definitely had a better understanding of what I wanted with my photography after this project. I developed a better comprehension of my own fascination which allowed me to focus better. TPL: Your photographs are abstracted images of surfaces, textures, colours, shadow shapes. They are sometimes reminiscent of works by the painter Mark Rothko. Tell us what particularly interests you when you think of a composition. MR: When I walk around to take photos I’m always fascinated how changing your standpoint and framing of a situation can lead to completely different interpretations of the same situation. For me the more a subject transforms through this process, the more interesting it becomes. The transformative power of the camera – translating a three dimensional setting into a two dimensional plane – is endlessly intriguing to me, all the more because the resulting picture can become ambiguous and it’s not immediately obvious what you are looking at, a reason to take a second look and change your perception. TPL: Do you plan your photographs conceptually, or do you walk about and photograph what jumps to your eyes and put them together as series later? Where do you particularly like to photograph? MR: I don’t plan my photographs, but I do have a clear idea of the conditions that can lead to the photographs I aim to take. Possibly one of the most important realisations I have had over the years is to recognise when not to take a photo. When I started out I had a much broader scope of the kinds of things I would photograph and that margin has really narrowed down. When I walk around with my camera I have a part conscious and part subconscious list of the qualities that have to be in a photograph in the back of my head. This list changes over time as my interest slowly shifts, but I try to have it as clear as possible in my head. When I encounter a situation that potentially contains an interesting photograph I always surprise myself with the eventual outcome, that is definitely something that keeps me going. I’m attracted to situations with a lot of natural light and although I like to travel to countries like Italy, Spain and Portugal where there are many more sun hours on average than in the Netherlands, I have found that I can also find these situations closer to home, or even at home. The advantage of being abroad to photograph however adds to the focus I have on my work, I have more hours to work and simply have less on my mind when I am on the road. In this perspective the location is not only important when it comes to aesthetics, but also helps me aim my attention. Untitled (Scenes From Home 2020) © Maarten Rots Untitled (Scenes From Home 2020) © Maarten Rots Untitled (Scenes From Home 2020) © Maarten Rots Untitled (Projections 2020) © Maarten Rots Untitled (Projections 2020) © Maarten Rots Stain Glass Window - Triptych (Kunsthaus Bocholt 2019) © Maarten Rots Untitled (Cologne 2018) © Maarten Rots Untitled (Cologne 2018) © Maarten Rots Untitled (Cascais 2020) © Maarten Rots Untitled (Cascais 2020) © Maarten Rots Untitled (Berlin 2019) Untitled (Berlin 2019) TPL: Your latest series is called KONVERGENZ (Convergence). Can you explain what you mean by this title? MR: In my photographs there are always multiple elements coming together and by choosing a certain standpoint and framing I control how this translates into a photograph. So in a sense the resulting photograph is the convergence of me being in a specific place at a specific time. When I made the photos that make up this series I was doing an artist residency at Sommergalerie Zöbing in Austria, hence a German title rather than its English translation. Konvergenz also functions as a title on a more personal level, referring to how things sometimes just come together at the right moment. The aforementioned residency was the result of participating in an artist’s fair in the Netherlands in 2017. I used to visit this fair every year, already before I started studying arts. When I finally took part myself I met Franz Mrkvicka, the initiator of the residency and also one of the participating artists, who later invited me to come over to Austria. TPL: Some of your work has even been turned into stained glass objects. How did that idea come about? MR: To celebrate the Bauhaus year (2019 was the 100th anniversary of the founding of the Bauhaus), the German city of Bocholt organized a project and exhibition where they invited several artists to collaborate with craftsmen. I had always wanted to work with stained glass, but never got around to it so this was the perfect opportunity to finally make it happen. Much of my photography is based on a strong division of fields of color and lines, and light is very important in my work, both are elements that are also of great importance in stained glass making. I had been experimenting with printing on transparent material and really wanted to take this a step further. It was an interesting experience in which I came across the limitations of the material which led to a different outcome than I initially expected - in a positive way: I’m very pleased with the resulting pieces. TPL: One technique that is often used in abstract and experimental photography is multiple exposure. The photos in your series Fraction could be taken by the casual viewer as multiple exposures. But they are not, are they? What was your approach in taking these images? MR: They are indeed all single exposures. The photographs in this series came about by using reflecting and transparent objects that can be found in public space. Experimenting with these conditions marked my first steps towards a more abstract direction. In my photographs there are always multiple elements coming together and by choosing a certain standpoint and framing I control how this translates into a photograph. So in a sense the resulting photograph is the convergence of me being in a specific place at a specific time. TPL: How would you say your photography has evolved? When one looks at your earlier work, it seems that you moved from the more concrete into the more abstract? Where do you see yourself going in the future? MR: My photography has become more abstract indeed. It has been a gradual process without the intention to end up where I am now. I think my development has a lot to do with the amount of time I spend looking at my own work, trying to uncover visual patterns that subconsciously influence me while I am out taking photographs. When you know these things, you can be more deliberate and conscious about what you photograph, which creates space for you to subconsciously allow new elements into your photography. And so the cycle continues, you try to uncover those new patterns, etcetera. I don’t know where I’ll end up in the future, but I’m currently very fascinated by the effects of light and shadow, so that will likely be an underlying theme for the years to come. When I am taking a photo I’m not thinking about what it is that I am trying to communicate. I’m simply trying to bring the different elements around me into the frame, to organise it on a visual level and transform the everyday situation I’m in into something miraculous. I am very aware of the influence of the elements you mention, but I try to remain open to any situation when I am out to take photos. Once I start selecting and sequencing photographs for an edition of March & Rock or for an exhibition, the underlying themes that were mostly subconscious become more apparent. Adding or removing one photograph as well as changing the order in which they are presented has a significant influence on what a group of photos communicates. Sometimes this can be based on a feeling that I’d like to recreate by presenting a group of photos, sometimes it is the outcome of a specific visual fascination that becomes the criterion to which I measure what photos will form a series. TPL: Do you have any favourite photographers or artists and the reason for their significance? MR: This is always a hard question to answer, in the end it is a culmination of so many things, also the stuff you don’t like has a big influence on how you develop. And it’s not just visual art, music is also an important influence. There isn’t really one artist that stands out in that respect, but in retrospect I think seeing Saul Leiter’s work has made me realize the camera can also be used to capture and show the world in a less straightforward way. A painter I’ve long admired is Matthias Weischer, I love his use of texture and the way he depicts spaces. Growing up I often took an MC Escher book out of the bookcase, amazed by the visual complexities in his work, and I recently discovered the sculptures of Charles Ginnever that play with a similar effect but in three dimensional space. TPL: The Corona pandemic has affected everyone's ability to travel around as much as we would like. Has it affected your work? How are you dealing with it? MR: Unfortunately I am currently not travelling. However, I am doing a lot of new things that I wouldn’t have done otherwise. This pandemic is horrible on so many levels, but it also allows for us to try new things. After the pandemic had us return earlier than planned, I have found myself working differently. Before this situation I was out on the streets a lot of the time, searching for potential photographs, I only photographed what I found while walking around. Back in the Netherlands I started photographing inside the house with the same outlook, searching for compositions similar to those I find outside. The resulting photographs showed me it’s rewarding to revisit the same place at different times of the day when the light and shadows are different. The latest chapter in these Corona-related endeavours has me photographing compositions that I create by projecting light on the wall by using coloured pieces of glass and several old projectors. A lot of the conditions that I search for when I’m photographing outside on the streets also apply to this way of working and there is still the important element of surprising myself. These photographs are more abstract - shape and colour are the main ingredients. Where my street work often still provides an opportunity for the viewer to figure out what they are actually looking at, these projection works don’t give that kind of information. There is still a lot to explore in this new approach, I’m excited to see where it will take me. Parallel to this I have also been working on some non-photographic projects, making mixed-media collages and works with spray paint on panels, something I had wanted to do for a while, but never got around to. I’ve been enjoying this process very much. It’s a very different way of working in terms of materials and technique but my fascination for composition, textures, colour and the effects of light and shadow are still at the core of the work. Untitled (Zöbing Am Kamp 2019) © Maarten Rots Untitled (Torremolinos 2020) © Maarten Rots Untitled (Torremolinos 2020) © Maarten Rots Untitled (Stein An Der Donau 2019) © Maarten Rots Untitled (Rovereto 2018) © Maarten Rots Untitled (Ptuj 2019) © Maarten Rots Untitled (Maribor 2019) © Maarten Rots Untitled (Lisbon 2020) © Maarten Rots Untitled (Krems An Der Donau 2019) © Maarten Rots Untitled (Krems An Der Donau 2019) © Maarten Rots Untitled (Júzcar 2018) © Maarten Rots TPL: You have this super-cool customised camper/work van...we are a bit jealous of that! So, apart from being a great photographer, you seem to be quite crafty as well? Do you enjoy working with crafts? MR: Thanks! It’s been quite a project and I’m very pleased how it turned out. I enjoy making stuff that has a practical function, but I’m not the kind of guy that has a shed full of tools, spending all of his free time making things. Although I definitely enjoy the process of making, being able to use the thing I made is the end goal. It’s usually quite a bit of trial and error, figuring stuff out as I go, that’s how all of my creative processes work. There is a lot of information about anything you want to make on the internet, YouTube can be very helpful. And in the case of the van there were certain technical aspects where the help of friends was very welcome. TPL: Are there any new projects you are currently working on that you would like to share with us? MR: I am in the process of compiling the 20th edition of my magazine March & Rock, which is definitely a milestone. I started making a quarterly zine with my photography a little over five years ago and learned a lot along the way, it definitely pushed me through some harder times when I wasn’t sure where I was going with my photography. I initially started making this magazine with the intention of making a photobook at some point, and I’m really excited to share that I am currently working to self-publish my very first monograph! It will be a compilation of my photography from the past 3 to 4 years and I’m hoping to release it in the beginning of 2021. If you’d like to be among the first to know when it becomes available, sign up for my newsletter. Next to that I have several exhibitions coming up in the coming months: a duo exhibition in Austria and several group shows here in the Netherlands and Germany. TPL: “When I am not out photographing, I (like to)… MR: I really enjoy being outside, walking in nature with my wife Anne and our dog Laika. It’s a great way to let go of some of the daily stuff and I always come back recharged with a clearer idea about how I can deal with things that are on my mind. Another activity that makes me happy is cooking. It’s nice to improvise and experiment, I don’t really use recipes, usually I take a look at what I have and come up with an idea. I always keep a good variety of herbs and spices around and usually cook with whatever is available.” Maarten Rots is a creative force to be reckoned with. His passion for travel and photography has produced some truly remarkable works of art that draw viewers in with their beauty and detail. We have had the pleasure of getting to know Maarten and discovering the inner workings of his creative process. As his journey continues, let us all be inspired to explore the world with the same passionate eye that Maarten has. VIEW MAARTEN'S PORTFOLIO Maarten's website >>> Instagram >>> read more interviews >>> 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. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices. DAYDREAM IN MEMORIES OF YOUTH Stephanie Duprie Routh's new book and exhibition serves as a layered visual diary that examines sensuality, through retrospection while examining the complexities of aging. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. 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.

LIFE LESSONS Never knowing what he is going to capture is what continually thrills and challenges Hugh Rawson about street photography. LIFE LESSONS April 19, 2020 INTERVIEW PHOTOGRAPHY Hugh Rawson INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Hugh Rawson has been a street photographer for years, a passion that has taken him on an unforgettable journey full of unique and captivating moments. Hugh has explored the streets of London and the south-east of England, unapologetically capturing humanity and its beauty through his lens. But what is the secret to his success? Rawson believes that his experience as a primary school headteacher gives him the tools to understand and anticipate human behaviour, allowing him to capture images that may otherwise have been missed. Yet, Rawson never knows what he is going to capture, and it is this thrill of the unknown that keeps him going. So come with us as we explore the life and work of Hugh Rawson – street photographer and primary school headteacher – to learn why street photography provides equilibrium in his busy and demanding life. “Initially I was just snapping away at things that caught my eye with my iPhone and Hipstamatic - although I did have a brief flirtation with film back in the eighties. I then moved onto a Fuji bridge camera but I didn’t know what I wanted to shoot so I just shot anything and everything. For the last four years the focus has been very much on the street and still with Fuji's.” IN CONVERSATION WITH HUGH RAWSON THE PICTORIAL LIST: Hugh, where do you find your inspiration? HUGH RAWSON: I think the joy of street photography is that inspiration is all around you. However, I also think that it takes some knowledge in order too, to know where to look, and what to look at. The work of other photographers, especially the greats, is always an eye opener. I love time spent with a pile of photo books. TPL: Has your style of photography changed since you first started? HR: I suppose that I have moved away from catching almost random moments on the street to be better at catching specific moments which may be driven by an anticipated movement or by the light in a scene. TPL: Do you have a favourite place(s) to go photograph? HR: The place I keep returning to is Soho, London. It’s a happy hunting ground for me with so much going on and it’s ever changing. The South Bank and the City also have their appeal. I love shooting in France, Paris and the south are wonderful. I’m a big fan of shooting in and around cafes and bars and French culture does that so well. TPL: What is your favourite quote that resonates with you the most? HR: Wow - good question. So many to choose from so I’ll have two. “I put my brain under my pillow when I shoot. I shoot with my heart and my stomach.” - Anders Petersen. And then one from Miles Davis which is about music but can equally be applied to putting in the hours in any art form. “Sometimes you have to play a long time to be able to play like yourself." TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? HR: Sergio Larrain, Fred Herzog, Ernst Haas, Saul Leiter, Alex Webb and, of course, Henri Cartier-Bresson - but that list can change at any moment. I like the abstraction and geometry of photographers like Fan Ho, but also the surrealism of Cartier-Bresson and the humanity of Sergio Larrain. I love the layers in Alex Webb’s work and the use of colour in Herzog, Leiter and Haas. Most of the time it's like fishing in a polluted stream and all I catch is rubbish...every so often I catch a gem. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? HR: To an extent. There comes a point where you actually have to get out and shoot, rather than spend time watching reviews of gear. Any modern camera is good enough to shoot street photos. The kit available to the ordinary person today is far better than anything that Cartier-Bresson or any of the legends had yet they were able to catch incredible moments. However, most people shooting street will want to be discreet and disappear into the shadows or the crowd - not in a creepy way but so that they don’t impact upon the scene they are capturing. This means that generally they will want a small camera and lens set up. There are exceptions of course and rules are there to bend, but I’d struggle with a giant DSLR and a 400mm lens in Soho. I often shoot from the hip so a 23mm (35mm equivalent) lens is perfect for most of what I do. TPL: What characteristics do you think you need to become a photographer? What’s your tips or advice for someone in your genre? HR: It varies hugely depending on what you want to shoot. I don’t have the patience to stand for two hours in a cold field for one image of a sunset so landscape is never going to be my thing. For street photography you have to like people, be able to empathise and, perhaps most importantly, be able to anticipate what is going to happen - be it a turn of the head followed by a kiss, or an exhalation of smoke. My advice would be get some comfortable shoes because you are going to rack up the miles; learn from the greats; go with the light; and study the people. TPL: Have you ever been involved in the art world before photography? HR: In the 1980’s I was in a band called SLAB! You can find a few tracks like “Mars on Ice” and Parallax Avenue” on You Tube. I also wrote a few stories for children and had an agent for my writing though never actually succeeded in getting anything published. It’s so important as a human being to have a creative outlet. It’s what sets us above the beasts. It keeps me on the right track. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? HR: I wish I could say there was. I’m not really a project person and in some crazy way I feel that that makes me less of a photographer. I don’t go out looking or anything specific. I just like to explore an area and see what I can catch... TPL: "If I wasn't photographing what would I be doing?... HR: Music; writing; or just out on my bike." Hugh's passion for street photography is what makes him a great photographer. His ability to empathise, anticipate and never knowing what he is going to capture makes his work stand out. If you would like to follow Hugh and his creative journey, follow the links below and be part of his inspiring story. VIEW HUGH'S PORTFOLIO Hugh's website >>> Hugh's instagram >>> read more interviews >>> 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. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices. DAYDREAM IN MEMORIES OF YOUTH Stephanie Duprie Routh's new book and exhibition serves as a layered visual diary that examines sensuality, through retrospection while examining the complexities of aging. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. 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.

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. MARCH FORWARD For All Women, Queer and Gender-Diverse Communities March 8, 2025 INTERVIEW PHOTOGRAPHY Suzanne Phoenix INTERVIEW Karen Ghostlaw Pomarico SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link As we come together to celebrate International Women's Day, we acknowledge not only a historic milestone but also a powerful movement that continues to shape societies worldwide. Now in its 110th year, this annual occasion serves as a resounding call to honor the extraordinary social, economic, cultural, and political achievements of women across generations. It is a day to reflect on the progress made in the fight for gender equality, to recognize the resilience and contributions of women in all spheres of life, and to amplify the voices advocating for a more just and inclusive world. Now in its 14th year, Suzanne Phoenix’s International Women’s Day photography series continues to celebrate and amplify the voices of inspiring women and gender-diverse people from Melbourne, the Yarra Valley, and beyond. Since 2012, this project has grown into a powerful visual archive, capturing nearly 200 portraits of artists, activists, musicians, performers, writers, and changemakers who challenge, inspire, and shape our world. Suzanne is a queer Naarm/Melbourne-based photographer, artist, and self-publisher whose work explores people and places with endless curiosity. Her photography spans portraits, live music, performance, documentary, and street photography, capturing the essence of daily life and cultural movements. Each year, Suzanne curates a new collection of portraits, offering a glimpse into the fierce, funny, and extraordinary individuals who drive progress in their fields and communities. These images are more than just photographs — they are statements of resilience, strength, and the ongoing fight against inequality, discrimination, and gendered violence. This annual portrait series is a testament to Suzanne’s dedication to visibility, storytelling, and social change. As we celebrate International Women’s Day in 2025, this year’s series once again brings together a remarkable group of individuals, reflecting on the significance of this global movement. Through photography, Suzanne creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. “I hope that everyone can see a wide range of cis and trans women and gender diverse people who they might recognise but invariably some (often many) they will not, and they will then look them up and connect with them. I want to show strong, vulnerable, moving portraits just as we really look and not what we see in the homogenised media.” MARCHING FORWARD WITH SUZANNE PHOENIX ON INTERNATIONAL WOMEN'S DAY THE PICTORIAL LIST: What originally inspired you to start this International Women’s Day photography series in 2012? What were your aspirations at that time for the project? SUZANNE: I turned up to work one day at a Neighbourhood House and to my surprise all the women were dressed up for IWD. I just started creating portraits with them and asked them what the day meant to them. I had no idea at that time that it would end up being an annual project. TPL: Over the past 14 years, how has this project evolved, and what has surprised you the most? SUZANNE: The project has evolved to engage with people that I am inspired by and who I connect with which sees a definite focus on the live music scene, particularly punk rock, and queer performers. It has evolved in many ways from just creating portraits, to doing paste ups as street posters (firstly by hand with mates, and then through places like Plakkit) and then billboards, self-publishing zines and books and running events with the subjects of the year. The project seems to be growing and reaching a bigger audience. I am most surprised that people continue to say yes to being involved, for example Casey Donovan agreeing to take part this year was a big, beautiful surprise. TPL: How has your work as a photographer been shaped by the themes of gender equality and representation? SUZANNE: My whole life has been heavily influenced by my experience of childhood family violence. Gender equality is a key driver for me to try and make a difference in all I do, and it is prominent in my photography work. I believe visibility and representation of those who are marginalised is crucial to make positive change. For over a decade I have sought to work in places, spaces and sub-cultures with people who are often not seen or are depicted in a stereotypical way. I hope to show people in their best light, in a real but kind way, with consent. Beź Zewdie - events producer, podcast producer and radio broadcaster - "Yes, disengagement is seemingly easy and peaceful, but an Angry Black Woman makes an intergenerational impact." © Suzanne Phoenix Delfi Sorondo - artist - "I can't really sugar coat it. I would love to be saying something more positive. But this is what IWD represents for me and it's appalling. The fight, the injustice, the struggle." © Suzanne Phoenix Casey Donovan - singer, actor, author, speaker, entertainer - "...acknowledge the ongoing fight for women's rights worldwide." © Suzanne Phoenix Georgia Knight - artist - "It was a pure moment of friendship and joy." © Suzanne Phoenix Apollonia - singer, lyricist - "The importance of inspiring girls to dream big." © Suzanne Phoenix Athina Uhoh - singer, visual artist - "It's tied to my penchant for perversion which, to me, connotes curiosity, and that is tied to my desire to perform music." © Suzanne Phoenix Amy Middleton - writer, journalist, publisher - "Women, transgender and NB people are just the best and I'm grateful for their/our efforts and unwavering commitment to changing this fucker of a world order." © Suzanne Phoenix Camilla Lucy McKewen - performer, maker - "Kissing and holding the edges" © Suzanne Phoenix Emilee South - artist - "I am galvanised every day, by the incredible community of women and non-binary folks that surround me." © Suzanne Phoenix Frankie Mazzone - actor, activist - "I like to remind myself of all the incredible Women in my life that have made spaces for me to shine and be free as Frankie." © Suzanne Phoenix Ginger Light - artist - "Women are beautiful, nurturing, kind & strong." © Suzanne Phoenix TPL: Are there any particular portraits or moments from the series that have deeply moved or challenged you? SUZANNE: On the day of one of the photoshoots the news broke of a young Melbourne woman called Isla and her body being found after missing for 6 weeks. In those weeks I watched the ‘Isla MISSING’ messages for weeks and I felt in my gut that she was dead, as I am sure many did. These frequent gender-based deaths of women knocked me and I tried to avoid hearing the details of her death to stay on track for the IWD photoshoots that day, but ultimately, I felt it needed to be raised and not ignored in those portrait sessions. TPL: You feature a diverse range of individuals in your portraits — how do you go about selecting your subjects each year? SUZANNE: I have a list. When I witness a person that I find unique, inspirational, someone who rocks my world, I add them to the list. There are some people I invite every year, but the portrait hasn’t happened yet, but I hope it will one day. So, I usually go back to them as the first on the invite list. Then I look at everyone and try (I say try) to curate a group of people who offer diversity of views and interests. I often have to take a deep breath and just send the invite because if you never ask, you never know. It has become clearer every year that this IWD project has become a place to channel my energy in response to every act I see of violence towards women, inequality and discrimination. TPL: How does capturing both prominent figures and everyday individuals contribute to the storytelling and impact of this project? SUZANNE: It provides a platform for individuals at different levels of their career, and I hope it helps elevate those who are emerging. I think an everyday individual has an important presence in this series for many reasons including the profiling of their life experiences and perspectives. I am also particularly interested in people in what could be perceived as their ‘break through’ moment. For example, Amy Taylor of Amyl and the Sniffers was in the series before the band became an internationally recognised band. In 2021 when we were in covid lockdowns, I couldn’t do portraits so I went back to everyone in the series to date and asked them if they would like to answer the question about IWD again. It was an interesting exercise to see how views changed, and Amy was one of these people. I think the documentation of stories before people experience a different level of fame is an important act. TPL: Photography has the power to shift perceptions — have you seen this project create tangible change or impact within communities? SUZANNE: It is hard for me to quantify a tangible change within communities but what I can say is I have seen change in individuals who are in the series. Also, I see how people react to the portraits and their personal stories alongside them. I have received a great deal of feedback that this work has changed their thoughts on IWD as a subversive project that bucks the trend of IWD being corporatised and commoditised with soggy croissant breakfasts that cost far too much to attend and are for a select group of a privileged few. TPL: Can you walk us through your creative process when capturing these portraits? How do you ensure authenticity in your subjects' expressions and stories? SUZANNE: I see the creation of the portrait as a collaborative process. I aim to provide a quiet, calm space with just the subject and myself. I can be a quick portrait photographer and only take a few shots with some people, but I take the time needed with each person. Everyone is unique with a different level of comfort in front of the camera. Some people are so used to it they have practiced skills and looks that I sometimes need to try and encourage them to drop. I always talk through the portrait being just for the purposes of this series, that in a hundred years people will look back and see and read what ‘so and so’ presented and wrote about IWD. I have recognised, especially this year, that people are reacting to me in the portrait and that they usually are showing that they like me and feel comfortable (which is lovely!). But I’ve asked a few people to look at me like they don’t like me to give a different feeling. I am unsure if this is right or wrong, but certainly some of those portraits are in the final collection. My process includes the subject making a final decision on the portrait chosen which I understand is often not the norm. On the storytelling side, I talk about it being difficult for many to write about the subject and that individuals don’t need to give a worldview and cover off everything about it. I suggest sharing a personal story from their life, that is where the gold is. And while it is true we have come a long way, but still have a long way to go, I talk about how we don’t need to all state that and encourage the individuals to dig a little deeper. Grace Cummings - artist - "I feel proud and hopeless in equal measure...I don't want to have to think about it all. I'm grateful to be asked and hope I have a wildly different answer in 10 years." © Suzanne Phoenix Isobel Buckley - musician and record label co-founder girlie - "IWD to me represents the celebration of strength and triumphs reached by non-men, which has improved the quality of life and many others benefit from every day. It's also a reminder of the very real struggles faced daily, and the huge progress still to come and to fight for." © Suzanne Phoenix Karen Pickering - writer, carer - "I've seen IWD grow in size and popularity, from being barely observed to now a cultural juggernaut divorced from its true meaning." © Suzanne Phoenix Kerri Simpson - musician - "A time to reflect on and celebrate women's achievements worldwide." © Suzanne Phoenix Lauren Hester - musician, visual artist, filmmaker - "Every day is a fight for women to simply exist." © Suzanne Phoenix Michelle Trebilco - fashionista - "A time to celebrate all women without discrimination." © Suzanne Phoenix MzRizk - DJ, event curator, sound artist - "...a call to action to continue amplifying voices and championing equity in every sphere." © Suzanne Phoenix Romy Vager - singer - "International Women's Day is a bit of a double-edged sword for me. While I want to support others and celebrate our achievements, as a trans person I'm never quite sure about how welcome I am to be there. I guess IWD for me is about women who don't always fit the mould of what a woman is expected to be making it clear that we deserve to be here as much as anyone else." © Suzanne Phoenix Sarah Blaby - musician - "I can't hide anything, so I try to make her proud and be the voice she wasn't allowed." © Suzanne Phoenix Sherele Moody - femicide researcher, journalist - "IWD is a powerful moment when women come together to save other women's lives. It's an opportunity to highlight the ongoing toll and impact of gendered violence on Australia while commemorating killed women and children. We cannot move forward without change: The stories of killed women and children are the most powerful way to turn the page on violence in Australia." © Suzanne Phoenix Ursula Dutkiewicz - artist - "IWD celebrates how far we have come towards equality while bringing to light the issues we still face. It's a reminder to take nothing for granted and to continue to keep pushing for a better world whilst living in a patriarchal society." © Suzanne Phoenix Zec Zechner - singer, songsmith, performer, writer - "... an annual reminder of the need for action to optimise our broken system to serve the broader community ... " © Suzanne Phoenix TPL: What challenges have you faced in sustaining and growing this series over the years? SUZANNE: The main challenge is financial. 2025 is the first year I have established sponsorships that individuals have taken up to a level that has mostly covered the outgoing costs of the work. The future challenge is to try and cover the costs of my time so I can survive as a full-time artist. TPL: As you look ahead, how do you see this project evolving in the future? Are there new elements you’d like to explore? SUZANNE: Every year is a bit different, often with different presentation outcomes like in 2024 the portraits were on the Bakehouse Billboards in Melbourne driven past by 2 million motorists per week. This year there will be an exhibition at Queen Victoria Women’s Centre which is sponsored by Australian Femicide Watch. The QVWC feels like a natural home for the project in a place of activism and advocacy committed to holding and creating space for Victorian women and gender diverse people to thrive. And I am so honoured to have built a connection with Sherele Moody of Australian Femicide Watch. For the future, I hope one day to see the portraits on a larger scale in an outdoor exhibition. TPL: Finally, what does International Women’s Day mean to you personally, and how has your perspective on it changed through this work? SUZANNE: It has become clearer every year that this IWD project has become a place to channel my energy in response to every act I see of violence towards women, inequality and discrimination. It gives me an opportunity to connect, learn, to grow as a person and artist and gives me hope. Suzanne Phoenix’s photography is a testament to the power of representation, storytelling, and community. For over a decade, she has documented people, places, and cultural movements with eyes wide open, creating compelling visual narratives that celebrate diversity and visibility. Her work has been recognized in industry awards and exhibited at major festivals, including the National Photographic Portrait Prize, the Martin Kantor Portrait Prize, and public art installations such as the Bakehouse Studios Billboards for IWD 2024. A self-publisher, Suzanne has produced over a dozen photo books and zines, often collaborating with artists and community groups. Since 2012, her annual International Women’s Day portrait series has amplified the voices of artists, activists, and changemakers. Beyond photography, she shares her expertise through workshops, artist talks, and mentoring at major festivals and galleries, including PHOTO 2022 and 2024, the Ballarat International Foto Biennale, and Head On Festival. As we celebrate International Women’s Day 2025, Suzanne’s latest portrait series once again brings together a powerful collection of individuals reflecting on the significance of this global movement. Her work reminds us of the importance of documenting our communities with care, curiosity, and respect. Through her photography, we don’t just witness moments — we experience the stories that shape them. For commissions, collaborations, or inquiries, visit her contact page or email Suzanne directly. Follow the links and be inspired by Suzanne’s work and learn more about the people she supports and engages through her photography practices. Special thanks to all the individuals that have supported this project, helping this diverse and dynamic group of women to inspire others, and recognize their valuable contribution to the communities they reach and belong to. Sponsors of IWD2025: Ross Coller, Ian Bickerstaff, Mike Kendall, Nicolette Powell, Carmel Tulloch, Deb Lord, Elise McLellan, Marilyn Hogben, Mel Scott, Nadine Amy, Peter Cahill, Sean Jameson, Stephen Andrew, Susan Lloyd-Angol, Belinda Rogers, Ece Caliskan, Ellen Kessler, Helen Pinchen, Jean-Luc Syndikas, Lorraine Ellis, Maggie Powell, Mandy Corcoran, Mark Ireland, Melissa Williams, Patty Holten, Sarah Chappell, Tanya McCulloch and Ursula Dutkiewicz. The IWD2025 exhibition at Queen Victoria Women’s Centre is sponsored by Sherele Moody and Australian Femicide Watch and SMLXL Fine Art Print Studio and is supported by Queen Victoria Women’s Centre. Artwork (cropped) by Apollonia VIEW SUZANNE'S PORTFOLIO Suzanne's website >>> Instagram >>> Australian Femicide Watch Queen Victoria's Women's Centre SMLXL Fine Art Print Studio read more interviews >>> 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. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices. DAYDREAM IN MEMORIES OF YOUTH Stephanie Duprie Routh's new book and exhibition serves as a layered visual diary that examines sensuality, through retrospection while examining the complexities of aging. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. 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.

WHIMSICAL WHIMS Vanessa Wall creates captivating images that tell stories and evoke memories, crafting a world that celebrates the mundane and elevates it to art. WHIMSICAL WHIMS May 25, 2022 INTERVIEW PHOTOGRAPHY Vanessa Wall INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Vanessa Wall uses her camera as a tool not to just create but to evoke memory. The Stockholm native’s portfolio is a visual homage to the beauty of life’s fleeting moments. Vanessa's photographs often blur the line between fantasy and reality, a perfect blend of the two. They are filled with emotion and personality, as if each photograph has a secret story to tell. Through her lens, she has crafted a unique world that celebrates the mundane and elevates it to art. Her work defies any linear structure, instead preferring to stray in all directions. She captures what many would miss – the movement of bodies, the beauty of colour and shape, and the darkness that lies beneath the bright and cheerful. Vanessa Wall is an inspiring figure in the world of photography. Her artistic vision has been praised for its unique blend of emotion and creativity. We are excited to share more about her journey and to offer a glimpse into her captivating world of photography. “I do tend to be very diverse with my work, I love taking classic portraits - setting a mood and get the perfect light, interact with the person and making he or she feel comfortable in front of the camera. I also love the spontaneous way of capturing a moment, I’m drawn to odd shapes, colour combinations and finding these themes in mundane surrounding is more interesting than a perfect setting such as a beautiful sunset.” IN CONVERSATION WITH VANESSA WALL THE PICTORIAL LIST: Vanessa please tell us about yourself. How does where you are from influence your work? VANESSA WALL: I grew up in an average sized town in Sweden with my single mum and older brother. The area we lived in was a diverse neighbourhood and my friends came from different corners of the world, it was a fun and carefree childhood. I guess I was curious then as now, wanting to explore and trying new things without breaking the law. After school I travelled, first France and then London where I went to art school studying graphic design, this was a way to narrow down all my different creative interests. Loved art school! Ended up in retail, this is where I am today. I do shop windows at a fancy department store in Stockholm. In this job I do everything: creative ideas, styling, photography but also heavy physical work which it is building a new set for a window display. I do love my job, the creativity and variation is endless. I live in a suburb in Stockholm with husband and two kids, have my own little studio near where we live in an old laundry room. I’m very happy with how my life has turned out, happy with the basics in life and that I get to do the things I love. TPL: What drew you to photography and art? What was that moment that you decided to pick up a camera? VW: Growing up my friends and I used to have photo shoots...taking turns dressing up and take photos, anxiously waiting the time you had to wait for the rolls of film to be developed. Maybe this is where my interest for photography started although, acting in front of the camera was just as fun as being behind it. Maybe it was when I had my own kids that I intensified my photography, those moments you can’t predict, that just happen, and you’re able to capture that moment, is priceless. The sentimental value was the initial force but somewhere along the line something else drove me as well. I took some classes, bought a camera and got more and more engaged. This was only a couple of years ago and today I still feel that I’m experimenting a lot but that playfulness is what makes it all worth it. I don’t want to feel too serious about it, never get caught up in technical issues that bores me. TPL: Tell us about the themes of your work and how you place portraiture within them. VW: I do tend to be very diverse with my work, I love taking classic portraits - setting a mood and get the perfect light, interact with the person and making he or she feel comfortable in front of the camera. I also love the spontaneous way of capturing a moment, I’m drawn to odd shapes, colour combinations and finding these themes in mundane surrounding is more interesting than a perfect setting such as a beautiful sunset. I’ve lately started using myself as a sort of anonymous model, building up a set in my little studio and since I can boss myself around and do whatever comes to my mind...it’s quite practical. I try to build up a story, there should be something that comes to your mind when you see the result, I don’t want perfection, I prefer a slight touch of darkness. TPL: Your compositions are beautiful in their simplicity. Would you say you have a minimalist approach when it comes to your creative process with your photography? VW: Thank you! I have never thought of myself having a minimalist approach, maybe I strive for a certain clarity that can be perceived as such. TPL: What other photographers do you look at for inspiration? VW: Anna Clarén, Evelyn Bencicova, Francesca Woodman, Sally Mann etc etc. There are so many! When I do more conceptual photography I have a vague frame that I try to stick to but as the process is rolling I get new ideas as I go along. Since I’m my own boss I can allow this to happen. TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? And why? VW: I actually would love to work alongside someone with a creative vision such as perhaps Ridley Scott during the set of Raised by wolves. Series and film really inspire me. It’s storytelling on so many levels, the visual aspect gives such an impact and can leave you with so many emotions. TPL: Do you have a favorite photography/art quote that has been an inspiration to you? VW: Not a specific quote but something a photography teacher once said: "that it’s not about how skilled you are using the camera, or which type of camera you use, it’s all about the ways of seeing." That removed a lot of anxiety. TPL: What camera do you use? Do you have a preferred lens/focal length? Is there any particular equipment you need or wish you had to help you achieve your photographic vision? VW: Fujifilm XT3, love it! But tend to use my Iphone a lot. I don’t actually have anything that I feel the need to upgrade with, feel like this camera is my little friend so we’ll stick together for a while. I have few different lenses that I use, some lighting equipment too. TPL: What are some of your goals as an artist or photographer? What direction do you think you will take your photography? Where do you hope to see yourself in five years? VW: A dream would be to have a solo exhibition at some larger gallery, or small for that matter. Maybe do a book. I’d love to be able to liberate some more time for doing my photography and using other models than myself perhaps. TPL: When I am not out photographing, I (like to)…” VW: Spend time with my family and friends. But I never actually really stop photographing, it's often these times that encourage spontaneous unexpected moments that have to be eternalised. Vanessa Wall is an artist who has dedicated her life to using her camera to capture the beauty and emotion of everyday life. With her unique blend of fantasy and reality, Vanessa creates captivating images that tell stories and evoke memories. She has crafted a world that celebrates the mundane and elevates it to art. We invite you to explore Vanessa's world and to continue to appreciate the beauty of memory and photography. VIEW VANESSA'S PORTFOLIO Instagram >>> read more interviews >>> 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. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices. DAYDREAM IN MEMORIES OF YOUTH Stephanie Duprie Routh's new book and exhibition serves as a layered visual diary that examines sensuality, through retrospection while examining the complexities of aging. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. 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.

NOD OF RECOGNITION B Jane Levine's candid portraits on the streets of New York City is a composite of pieces of her life - a self-portrait. NOD OF RECOGNITION November 25, 2020 INTERVIEW PHOTOGRAPHY B Jane Levine INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link The power of a single moment, captured in time and space, can tell us something profound about ourselves. B Jane Levine knows this like few others — she has made it her life’s work to capture these moments in a series of candid photographs of strangers encountered on the streets of New York City. Raised in the suburbs of New Jersey and a Columbia University PhD holder in Biochemistry, B Jane has always had an eye for what lies beneath the surface. After raising her family, she shifted her focus from molecular biology research to photography and began taking classes at the International Center of Photography and the School of Visual Arts. Armed with her newfound skills, she set off on photography trips around the world, exploring various genres from street photography, landscape photography and long exposure cityscapes. Now, B Jane has come full circle and started a series of candid portraits capturing strangers that possess a certain characteristic, gesture or physical trait she identifies as part of her own story. This series, called “Nod of Recognition”, is a self-portrait of sorts, comprised of moments and stories that resonate with her own personal history. Through her captivating photographs, B Jane invites us to look beyond the surface — to explore the depths of our own lives and recognize the pieces that make us unique. “I was trained as a biochemist to be an observer and a practitioner of rigorous methodical methods. My creative mind is inspired and nourished through the storytelling in the creative arts of film, theater, and visual arts. My introduction to photography, about 20 years ago, was my own attempt at a creative expression and initially my approach to the process of shooting, developing and printing took a methodical approach similar to my training in the scientific method.” IN CONVERSATION WITH B JANE LEVINE THE PICTORIAL LIST: B Jane please tell us about yourself. When did you start getting interested in photography? B JANE LEVINE: I grew up in a middle class family in the suburbs of New Jersey. I am the middle child of three children. It was a time when we were given a lot of freedom to explore our immediate surroundings with very minimal adult supervision. I was encouraged to think for myself, be creative, curious and conduct myself in a manner that was respectful of those around me. I was trained as a biochemist to be an observer and a practitioner of rigorous methodical methods. My creative mind is inspired and nourished through the storytelling in the creative arts of film, theater, and visual arts. My introduction to photography, about 20 years ago, was my own attempt at a creative expression and initially my approach to the process of shooting, developing and printing took a methodical approach similar to my training in the scientific method. I enrolled in many classes at International Center of Photography (ICP) and School for Visual Arts (SVA) to learn the process of shooting, film development and printing as well as the history of photography and to gain an understanding of artistic expression through photography. Eventually I converted to shooting digitally as the technology improved. I practice the art of photography almost everyday whether I am out shooting, viewing a photography exhibit, participating in photography groups with others or reading about photographer’s inspirations and processes. TPL: Where do you find your inspiration? BJL: My inspirations come from all forms of artistic expression including books, paintings, film, and photography. I have the opportunity to visit the many museums in New York on a regular basis. I always find inspiration for my photography after viewing an exhibition, whether it is stylistic or process or both. Earlier this winter I visited the exhibition “Vida Americana: Mexican Muralists Remake American Art, 1925-1945” at the Whitney Museum of American Art in New York. The show included the early work of Jackson Pollock, influenced by José Clemente Orozco, Diego Rivera and David Alfaro Siqueiros and other Mexican Muralists. Jackson Pollock painted his versions of Orozco’s paintings and they were exhibited side by side in this exhibit. This is so enlightening as it sheds light on some of the influences that helped shape Jackson Pollack’s iconic Abstract Expressionist paintings. I use this as an example of why it is so important to view so many different forms of expression, as the influence on my work is sometimes so subtle and may not always be evident until the work I create has time to settle in my mind. TPL: Is there anything you want to express through your photography? And what are some of the elements you always try to include in your photographs? BJL: I am a candid shooter. I prefer to capture moments on the street without the knowledge of the subject so that the expression, gesture and/or movement are authentic. Sometimes I get caught and a subject will give me that nod of recognition at the moment of the shot or after I press the shutter. I am drawn to creating layered scenes either separated or compressed, as well as up close candid portraits. Experimentation keeps me in the moment. I always try to respect the subjects that I photograph. People show themselves on the street the way they want others to perceive them. I take an image of a moment, which I observe with no other intent other than to memorialize the moment, which I recognize is real for the subject as well as myself. The creation of a candid image on the street has been a reawakening or a rediscovery of parts of my life that were taken away though loss or just simply forgotten. TPL: Do you prefer to shoot alone or with friends? BJL: I shoot alone. I do go out with others sometimes, but I rarely take successful images as I am too distracted by their presence. I do like to observe other photographers shooting style and I have incorporated some elements into my own shooting. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? BJL: Joel Meyerowitz, Alex Webb, Helen Levitt, William Eggleston, Philip-Lorca di Corcia, Garry Winogrand, Saul Leiter, Jeff Mermelstein, Lisette Model, and Katy Grannan are some of my favorite photographers. Color, light, layers all combine to create an image with many meanings. I believe that I have incorporated stylistic elements from many of these photographers in my image making. In addition, many of these photographers have/had expressed a personal principle to persist and focus in creating images as the central goal of their life. I have internalized this idea and I have incorporated a habit of creating photographs as an integral part of how I visualize the space I occupy. TPL: Do you have a favourite quote or saying that resonates with you? BJL: Joel Meyerowitz wrote in How I Make Photographs: "My process begins with having a sense of awe. When I start to feel that, I go with it. Keep your eyes open and see what you can discover." I follow this sentiment whole-heartedly when I go out to shoot on the streets. I often go out with no expectations of subject matter other than looking for a moment, which elicits some emotion that I respond to with the subject, it is mainly driven by an internal signal that connects me to the subject or situation. I need to be open to all types of encounters or situations. This is when my best shots are taken. Often I shoot a few images and walk on my way, but sometimes I find that a place has great potential and I wait around for a scene to evolve. I approach the street with a curiosity developed to explore the boundaries outside my control, looking for moments that either intrigue my sense of place or remind me of internal moments which I find to be familiar yet confusingly unknown to me. The creation of a candid image on the street has been a reawakening or a rediscovery of parts of my life that were taken away though loss or just simply forgotten. TPL: Has your style of shooting changed since you first started? BJL: Yes, I have become more deliberate in my intent in creating images where I can observe them afterwards and feel my presence in the center of the scene. This has meant being close to the subject. I also mainly shoot in color now so I have learned to be acutely aware of color palette in a scene. TPL: Where is your favourite place to photograph? BJL: New York has been a place that I can wander the streets relatively inconspicuously and feel as if I am part of a bigger society. The simple pleasure of observing both mundane and exquisitely exotic moments feeds my continual desire to explore neighborhoods and places that are outside my everyday experiences. I revisit neighborhoods or streets often, following the light and rhythm of movement of people. TPL: How does the equipment you use help you in achieving your vision in your photography? Do you have a preferred lens/focal length? BJL: The majority of my shooting is with a Sony full frame mirrorless camera with a 35mm prime lens. I also use a small Fujifilm 100F with a 35mm equivalent lens. It is critical to know your equipment so that it is not a limitation. I check the settings often to ensure that I have not inadvertently changed a crucial setting. I go out and shoot as often as possible. If I am not immediately drawn to particular subjects or do not have a specific intent, I allow myself to get lost in observing the scene. The practice and journey has helped me discover what I want to say through my images. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? BJL: Nod of Recognition is a series of portraits of strangers captured on the streets of New York. I walk, observe, and photograph people, following the path of light as it moves around the city. I highlight a moment in time juxtaposed against today’s incessant world. I use the light and composition to frame the subject in this found setting. I attempt to capture authentic moments when my subject is unaware of my presence. The people in my photographs all project a characteristic, gesture, or physical trait that I recognize in myself. This series is a composite of pieces of myself – a self-portrait. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? BJL: I photograph to cut out the noise of the world and to find the human elements that makes me feel part of the society. Everyday I get up and look forward to what the streets have to offer. The process and expression of photographing has become so integral to my life and I hope to continue to evolve as an artist. I continue to experiment with creating images with separated layers, which are more narrative and images with compressed layers, which evoke a more ambiguous, emotional sense. TPL: "When I am not out photographing, I (like to)… BJL: I am visiting a museum, reading a book, or traveling the world." B Jane's photography is an awe-inspiring journey that captures the essence of life in New York City. Her candid portraits capture her love for the city and its people, providing an intimate and intimate glimpse into the lives she touches. If you want to experience and appreciate the beauty of New York City through B Jane's eyes, be sure to check out her photography using the links below. VIEW B JANE'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> 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. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices. DAYDREAM IN MEMORIES OF YOUTH Stephanie Duprie Routh's new book and exhibition serves as a layered visual diary that examines sensuality, through retrospection while examining the complexities of aging. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. 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.