Bela Borsodi, 1966, Austria, studied graphic design and fine art before moving to New York in 1992. His work often incorporated photography but it wasn’t until 1999 that he started to fully focus on still life photography, which is still the main direction of his work. He concentrates on editorial and advertising photography and is strongly influenced by his graphic background. He combines ordinary objects and puts them in an unusual context. In his much acclaimed series Foot Fetish for V Magazine he put images of naked bodies of women in awkward positions inside women shoes. For Yalook he created a series of photographs and videos in which clothing was folded to resemble a face that spoke. Amongst his advertising clients are Galeries Lafayette, Hermes, Nike and Puma. He has also created images for editorial clients and magazines as The New York Times Magazine, Another Magazine and Stern. The following images come from the editorial series Livraison #2: Hidden Objects, Tatler #19: Seperationand Stern #36: Aus dem Schatten Getreten.

Photograph of ‘jyoudo’

“Jyoudo” (the home of a Bodhisattva, or Buddhist saint)

I’ve always thought that those in this world born with deformities, or who lose freedom of 
movement in accidents and mishaps, were living a life of continued suffering. Perhaps because 
of bad deeds in a previous life, or because they’re pathetically unfortunate. 


In a rest home I met a young girl. She was nothing but skin and bones, barely even breathing 
while she lie down. Why was she born like this, and what are we supposed to learn from it? 
To understand the meaning of her existence, I decided to photograph her.

People who gradually become smaller as the body expends all its water,
people whose bodies rot as their skin peels off and their figures turn red
and swell,

people whose heads gradually expand from water that has collected within,
people with part of their feet or hands unusually large, and soon. 


I’ve met and photographed many people like that, living with afflictions that 
are not explainable, and for whom a cure is said to be hopeless.


Yet even in that state, when I looked upon them without cringing, I saw how
truly natural each one of their lives really were. I came to feel the presence of 
Bodhisattva within their bodies. These people were the “Incarnation of 
Bodhisattva,” the children of God.

Christy Lee Rogers, 1972, USA, is a self-taught photographer from Hawaii who lives and works in Los Angeles and Kailua, Hawaii. Throughout the years she has specialized and perfected her technique of photographing in water. The water, in which light travels slower thus creating a higher optical density, is used to produce dream-like illusions. It intensifies colors and blurs the subjects creating painter-like images. The color photographs are achieved without digital manipulation and remind us of Baroque paintings. The floating female bodies and clothing bend and distort due to this technique. She uses Chiaroscuro, a term that dates from the Renaissance period describing the use of strong contrasts between light and dark, to capture the female form in an abyss of boundless space. In 2008 she released her book Siren and has exhibited her work extensively throughout the United States. The following images come from the series Odyssey, Siren and Inversion.

Ana Casas Broda, 1965, Spain, has been living in Mexico since she was eight years old. Her long-term projects are intense and personal. Her latest body of work is Kinderwunsch, a complex and personal set of images dealing with maternity. She spent five years submitting herself to fertility treatments before she got her first son. When she entered the same process a second time she decided to capture the entire process, the treatments, the pregnancy, birth, bodily contact, affection, feeding and other aspects of the experience. As the project progressed, it has become more complex. With her sons she carries out actions that derive from the childrens minds or from her fantasies. In 2000 she released the bookAlbum, a photographic project that is built on the relationship between her grandmother and herself. It includes images from her childhood to photographs of the last years of her grandmother. The book deals with themes as memory, cultural and personal inheritance as a way to explore identity. The following images come from the series Kinderwunsch, Diet Journals and Album.

Catherine Larré, 1964, France, is a fine art photographer who studied at the Royal College of Art in London. She uses unique lighting techniques to achieve her dream-like images that often take us back to our childhood memories. With bold choices she mostly frames her subjects in odd ways and awkward positions making the viewer wonder and reflect on what he/she is looking at. The photographs of Larré contain a certain serenity. They are mysterious, silent and fragile moments in time. This is also visible in her landscape and animal photography that tend to become supernatural reflections of a thought-out reality. The following images come from three untitled series within her portfolio.

Liu Bolin, 1973, China, is a sculptor and conceptual photographer. He received a B.A. from Shandong University of Arts in Jinan and an M.F.A. in sculpture at the Central Academy of Fine Arts in Beijing. When in 2005 the Chinese government ordered the demolition of the Beijing International Art Camp which housed Liu’s studio he created an image as a response. He painted his body against the rubble of the demolished building. It was the first image of the extended body of work entitled Hiding in the City. His entire body is painted to create an effect that makes him fade away into the background. Due to this body of work he is also called “The Invisible Man”. Some of his work is a protest against the actions of the Chinese government and other pieces deal with other social issues as the process of urbanization in contemporary China. His photographs always possess a clear thought and statement. He also created images in Milan, Venice and New York. The images have been exhibited throughout the world. The following works come from the series Hiding in the City and Dragon Series.

John Chervinsky, 1961, USA, is a self-taught photographer and an engineer working in the field of applied physics. The photographs of his series An Experiment in Perspective are a combination of chalk markings and real objects. Together they create open-ended images that appear to be science demonstrations or physics experiments. The images are not scientifically factual but are reflective of the ongoing philosophical debates and raise questions that have no easy answers. His series Studio Physics is an investigation into the nature of time, light, space and gravity. He composes a still life from which he crops one part of the image that gets send to a painting factory in China. Once the oil painting of the cropped section made by an anonymous artist returns he reinserts the painting into the original setup and photographs it again. John has exhibited his work across the USA. The following images come from the series An Experiment in Perspective, Studio Physics and Landscapes and Portraits.

Rania Matar, 1964, Lebanon/USA, is a documentary photographer who was born and raised in Lebanon and moved to the USA in 1984. Her career started as an architect before studying photography at the New England School of Photography. She concentrates mainly on women and women’s issues as identity and religion both in the US as in the Middle East. In 2009 she released the book Ordinary Lives and this spring her second monograph, A Girl and her Room, will be coming out. This series, inspired by her eldest daughter, focuses on teenage girls within their own private spaces. Both the forthcoming book and her younger daughter were the inspirations for her latest body of work entitled L’Enfant-Femme (the Child-Women). She portrays young teens and pre-teens without giving them instructions apart from not smiling. Due to the freedom the girls have to pose in their own way; they portray an array of emotions and clues to their true self. The angst, confidence and/or body language reveal their sense of selfhood and the developing sense of womanhood. As the teenagers still fluctuate between being a child and a women, Rania asks herself whether “they are meant to see themselves as little girls, teenagers or as young women?” Since 2002 she has also been taking photographs of her four children showing the various stages of their lives. The following images come from the series L’Enfant-Femme, Christian Arabs and Family Moments.

In the last years, parallel to photography and video, I have been making works on canvas, prints, drawings, collages, and small installations. Many of these pieces depict a cast of characters that are inanimate objects, toys and figurines that I find in flea markets, antique stores, and other odd places. The objects have a double existence. On the one hand they are mere appearance, insubstantial ornaments, but, at the same time, have a gaze that can be animated by the viewer, who, through it, can project the inclination to endow things with an interiority and identity. These “theatrical vignettes” are constructed as visual comments that speak of the human condition. I am interested in the simultaneity of humor and distress, banality and the possibility of meaning.

Tereza Vlčková, 1983, Czech Republic, is a conceptual and fine-art photographer currently studying at the Silesian University in Opava, the Institute of Creative Photography. In 2007 she completed the series A Perfect Day, Elise… showing floating girls with a mountainous background. Since then she has been in numerous exhibitions amongst which are Paris Photo in 2010 and 2011 and the traveling reGeneration2 group show. Throughout her series we find deeper layers dealing with themes as fear, the self and dreams. In her series Two she photographed indentical twins in a scary forest setting. The project deals with the questions of the “I” and the psychology of how we perceive ourselves. She seeks a fine line between fiction and reality. Are all of the twins truly twins or have some been created merely showing an alter-ego of some of the girls? Her work has been featured in a large number of photography / art magazines and catalogs as Exit, Picnic and Photonews. The following images come from the seriesMirrors Inside, Two and A Perfect Day, Elise...