Black & White Photography

COLLECT
ART
EDITION
SPECIAL
Black & White
VOLUME Photography
They say a picture is worth a thousand
words, but when it comes to black-and-
26
white photography, it feels like a

thousand emotions. Join us on a journey
through the timeless allure of
JUNE
monochrome imagery!
2023
EXCLUSIVE
INTERVIEWS
On the cover of the magazine photographs by Tomi Borza & Alexandra Buxbaum
CONTENT:
Mohammad Reza Masoumi 05
Alexandra Buxbaum 10
Nasim Asadi 15
Leli Blagonrarova 19
Adi Loțcu 23
Alice Lenkiewicz 27
Zahra Farsi 32
Yazdan Shiri 37
Rytis Gervickas 41
Tomi Borza 49
Emma Brink Laursen 54
Daniel Gantelev 58
Natalia Millman 63
Arefeh Nosrati 68
Lewis Andrews 71
Darina Kharaman 76
Lea Hope Bonzer 81
Celebrating the Timeless Elegance
of Black and White Photography
We invite you to embark on a journey through the captivating world of black and white photography. In this
special edition of our esteemed art magazine, we pay homage to the timeless elegance and enduring allure of
monochrome imagery.
Black and white photography holds a unique place in the realm of visual art. Stripped of color, these images
possess a remarkable ability to transcend the boundaries of time, captivating our imagination and evoking
emotions in ways that color photography often cannot. The absence of hues allows the interplay of light and
shadow to take center stage, unveiling a world of contrasts, textures, and subtleties.
Within these pages, you will encounter a curated collection of black and white photographs that showcase the
power of this monochromatic medium. We have carefully selected works from renowned photographers,
emerging talents, and enthusiasts who have dedicated themselves to mastering the art of capturing the essence of
life without the distraction of color.
Each photograph featured in this special edition is a testament to the remarkable storytelling capacity of black
and white imagery. From arresting portraits that reveal the depths of human emotions to sweeping landscapes
that transport us to ethereal realms, these images transcend the boundaries of time and speak a universal
language that resonates with viewers.
As you delve into the pages of this edition, we invite you to reflect on the extraordinary way black and white
photography enables us to perceive the world differently. It encourages us to slow down, to pay attention to the
interplay of light and shadow, and to appreciate the nuances that exist within the monochromatic spectrum.
Join us on this visual voyage as we celebrate the artistry and mastery that goes into creating black and white
photographs. Immerse yourself in the captivating narratives, the evocative atmospheres, and the arresting
moments frozen in time. Let these images inspire and transport you to a realm where simplicity, elegance, and
the power of the human imagination reign supreme.
Welcome to this special edition of our art magazine, where we honor the enduring allure and timeless elegance of
black and white photography. Prepare to be captivated by the monochrome magic that awaits within these pages.
Mohammad Reza
Masoumi
Hailing from Tehran, the capital of Iran, Mohammad Reza Masoumi resides in a region that has been
marked by significant conflicts in the Middle East. Living in perpetual anticipation of potential wars that
may or may not materialize, this constant state of uncertainty casts a psychological burden, affecting
both the economy and the mental well-being of the people. The prevailing atmosphere of apprehension
and anxiety permeates daily life.
Moreover, navigating the artistic landscape in Iran poses its own set of challenges, with government
censorship and surveillance imposing restrictions on creative expression. These constraints add an
additional layer of difficulty and unease to his artistic endeavors.
Ahoora
05
Where are you from and how does that affect your From your point of view, what makes a good
work? picture?
I am from Tehran, the capital of Iran It is a difficult question. The answer to this is simple
The Middle East is the place of the biggest conflicts in for me in the case of a specific photo.
the world. Always on the verge of a new war. Maybe a For example, I can say that a certain photo has a
war that never happens, but its psychological effect strong structure visually and has used the principles
always affects the economy and mental health of of color theory well, or this photo has recorded a rare
people. It makes them worried and anxious. At the and instantaneous moment. These are important, but
same time, we in Iran are struggling with government they are not the principles that make a good photo. A
censorship and surveillance. good photograph requires a strong mind and soul.
It is not easy because it worries you. But it has a And ...
strange and interesting point and that is that it gives Finally, my short answer to this question may be this.
you a new language. The language of metaphor. I Innovation! A picture that you have never seen
think this will make you a deeper artist and help you before. A picture that invites you to pause. A picture
take some words from the surface to the lower layers. that raises questions or answers. Or a photo that will
Sneer more sarcastically and criticize the status quo give you knowledge. or express a social concern or
more thoroughly. problem appropriately.
What inspires you as a photographer?
everything. People - sorrows and joys - stories - poems
- ancient Greek myths - social dilemmas - children - old
age - illness - death - searching for the meaning of life
and everything that I feel with my six senses affects
me put.
A;one girl
06
Who influenced you the most? Is there any other
photographer that you consider as a kind of idol?
Yes, I was influenced by many people who are
completely different in terms of style, thinking, and
working methods.
Eugène Atget
Sebastião Salgado
Gilbert Garcin
barbara probst
James Nachtwey
Duane Michals
Albert Renger-Patzsch
Martin Parr
and hundreds of other people
What is the biggest challenge of being a
photographer?
Herd
I have a big challenge as a photographer and that is
that I have become a camera. Others enjoy good
weather, but I subconsciously seek a visual balance or
proportion. The geometry of the surrounding In your free time, what kind of pictures do you
environment has exceeded its realities and this is not like to shoot and which ones do you avoid?
good at all. A kind of perfectionism is expected from I do not avoid any of them. I am an experimentalist
the environment! This is a disaster. photographer and I work in a very amateur way. I'm
not looking for a specific style or method and I avoid
the concept of personal signature on the work.
I believe that absolute commitment to one thing is like
crucifying oneself with one's own hands.
Street photography - social documentary - fine art and
photomontage - landscape - composition - minimal -
studio photography - aerial photography - all are fun
for me
Tell me something you struggle with as a
photographer. How do you work to overcome it?
In field photography, my biggest problem is being
seen. I'm looking for a drug to make me invisible so I
don't affect my subject's true feelings. I hope to receive
this ointment soon.
Chefs
07
What details do you believe make the best
photographs? How do you go about focusing on
them in your work?
A good photo is a rare thing that happens by itself.
Your role as a photographer is only self-awareness
and speed of action, as well as having a world view
or a humorous mind that notices the activating
elements of a good photo. In my opinion, the
elements in the photo should work together.
Contradiction - Similarity - Difference - Balance -
Proportion - Correspondence - Conflict - Evolution -
Lack - Accumulation - Union - Demarcation -
Illusion - Connection - Extension - Encirclement - Shakaram Bw
Change - Interference - Consolidation - Mastery -
Gradual - Adjustment - Multiplication - Guidance
Hands
and . .. There are situations that I am looking for
between the elements in the frame
How do you approach storytelling as a
photographer?
A good photo is a rare thing that happens by itself.
Your role as a photographer is only self-awareness
and speed of action, as well as having a world view
or a humorous mind that notices the activating
elements of a good photo. In my opinion, the
elements in the photo should work together.
Contrast - Similarity - Difference - Balance -
Proportion - Correspondence - Conflict - Evolution -
Lack - Accumulation - Union - Demarcation -
Illusion - Connection - Extension - Encirclement - SEFID CHAH
Change - Interference - Consolidation - Mastery -
Gradual - Adjustment - Multiplication - Directing -
Association - Substitution - Expectation - Hatred -
Obstacle - Mistrust - and... are the situations that I
am looking for between the elements in the frame.
When I see one of these together because I have
already thought deeply about it, it is like seeing a
familiar face. So I say hello and go to welcome the
subject.
08
Shekardasht
09
Alexandra
Buxbaum
''Cities exist throughout the world, with millions of anonymous people living and working in tight
proximity in ways our ancestors never could imagine.
Yet each city retains a unique vibe that is only its own; fleeting, random moments come together to
create a unifying and harmonious whole. A split second in time; a moment that may never again be
repeated. Seemingly insignificant flashes that happen throughout our lives…that make up who we are,
where we’ve been, and who we sometimes hope to be – or avoid. The city landscape continues to amaze
me; vibrant, quirky, and beautiful, a treasure chest of wonders waiting to be explored''
Buenos Aires, Argentina, 2002
10
Where are you from and how does that affect In your free time, what kind of pictures do you
your work? like to shoot and which ones do you avoid?
Being from a large city in North America, I am sure I always carry my camera with me at all times, for life
that those roots invariably have molded my presents itself with delightful surprises that unfold
perspective on things. I consider myself fortunate to before us all the time. Street photography is my true
have been exposed to a rich tapestry of individuals passion, and I dedicate my free time to capturing that
from diverse backgrounds, and this upbringing has type of imagery. There is really no subject or scene
undoubtedly played a pivotal role in nurturing an that I shy away from capturing through my lens.
open-minded outlook, allowing me to embrace a wide Tell me something you struggle with as a
range of perspectives. photographer. How do you work to overcome it?
From your point of view, what makes a good Fear can become your biggest adversary, especially
picture? when it revolves around the apprehension of failure.
A good photograph transcends boundaries and It creeps in whenever I am out of my comfort zone –
possesses the remarkable ability to touch individuals an essential step toward the journey of progress and
on an emotional level, evoking a profound resonance growth.
and eliciting genuine feelings, regardless of a specific
genre. SoHo, NYC, 1993
I appreciate the captivating images and
documentation produced by the photographers
affiliated with the Farm Security Administration.
Elliot Erwitts' humorous approach to photography
resonates with me, as I strive to inject a touch of
humor into my own images. I also admire the body of
work produced by Gordon Parks.
Lanjoran, Spain, 1995
11
photographs?
The essence of a moment is paramount, as it holds the
key to storytelling within a single image. Among the
myriad of elements, light, and composition stand as
paramount, serving as the guiding forces that shape
the impact of any photograph.
How do you approach storytelling as a
photographer?
When the story is about narrating someone else’s
experience, it is essential to allow the subject to shape
the storyline, as a compelling story revolves around Chefs in SoHo, NYC, 1994
the subject’s experiences and perspective. With this

foundation in place, the focus then shifts to creating a
series of visually cohesive images that convey and
reinforce the chosen storyline.
The gratification of capturing a great image makes
every ounce of time, effort, and preparation invested
Arcos De La Frontera, Spain, 1995
in it truly worthwhile.
12
Mid-Town, NYC, 1994
13
What is the biggest challenge of being a photographer?
The prevailing challenge in today’s landscape leis in meeting the ever-growing expectations of the field.
Nowadays, one must possess not only proficient photography skills but also adept writing, research acumen for
pitching stories, photo editing abilities, video skills, and the ability to craft compelling grant proposals. Simply
excelling at photography is no longer sufficient, success necessitates the proficiency of all these multiple
specialties into a single skillset.
Orgiva, Spain, 1995
14
Nasim Asadi
Nasim Asadi was born on February 11, 1992. With five years of experience in photography, she has
found her passion in the realms of documentary and street photography. For her, capturing images is
more than just a hobby; it is a profound method of expressing her innermost emotions and shedding
light on the subjects that hold personal significance to her. Through her lens, Nasim delves into the raw
reality of everyday life, documenting the unfiltered moments that unfold on the streets. Her
photography is driven by a desire to convey her inner concerns and create visual narratives that
resonate with others. Nasim's work serves as a medium, in which she can articulate her thoughts,
capturing the essence of subjects and inviting viewers to delve into stories.
In Between
Time stands still, I think how I will live if I grow up, what things await me. I don`t know.
15
From your point of view, what makes a good What details do you believe make the best
picture? photographs? How do you go about focusing on them
In the first stage, it’s important to have enough in your work?
knowledge to work with the camera. We must have I think we are always in the process of learning.
technical information, but what makes a good photo Studying, practicing, and repeating are very important,
is the skill of the photographer. In fact, the look of the and of course, having photography skills in the first
photographer. Other factors such as composition, stage. I always try to find new ideas and inspirations in
light, and capturing the right moment are very my mind and update myself with new information.
important. How do you approach storytelling?
Who influenced you the most? Is there any other I try to express what I want through my pictures. I’m a
photographer that you consider as a kind of idol? storyteller using my images, and in this way, I tell stories
I have always had my own vision in photography and to reflect what I feel inside. Every photo tells a story.
captured what I felt. Among the photographers, I Tell me something you struggle with as a
really like the works of Josef Koudelka and James photographer. How do you work to overcome it?
Nachtwey. In my opinion, they have captured many Being a street photographer has its own difficulty and
masterpieces in their career. problems. It’s very difficult to photograph in some areas
In your free time, what kind of pictures do you because there isn’t enough security. On the other hand,
like to shoot and which ones do you avoid? it’s more difficult in some places like the subway, which
My main interest is street and documentary is a forbidden place, but being in these situations has
photography. Taking a picture of a real-life moment is brought me many experiences, and there have been
very enjoyable for me. Being on the street is a form of times when problems have arisen with aggressive
trying and learning. Photography in the street is people, but an honest and direct conversation will solve
living. I don’t avoid any particular type. the problem to a large extent.
Like Water Lost

Childhood, It`s like a page that Is filled with words of simplicity, purity, Communication with people reminds you of life events. For example: not
liberation, and love by passing this path, changes begin and other words being there, not seeing the person you love. The old man told me: I haven`t
fill this page. seen my daughter since she got married.
16
Paying attention to the surroundings and looking well is very effective. A photographer must be ready to absorb
ideas and feelings from the surrounding environment. Everything around us can be a new idea for photography.
It’s enough to put ourselves in the situation with an open mind.
I think this challenge depends a lot on the country we live in. In my country, one of the challenges is the lack of job
security for photographers, and also some branches of photography aren’t properly recognized as a profession.
Where are you from and how does that affect your work?
I’m from Iran, and my hometown and the life I have lived have been very influential in my work. The society in
which I live is facing many restrictions. I try to show them by using the photography medium. For example, one of
my concerns is children. Unfortunately, the number of working children in my country is increasing day by day.
And finally, photography is a very important part of my life space.
Liberation
One of the most beautiful moments in life is liberation when you return to yourself.
17
Hope
On the path of life, I have passed through so many rough waters that I have been polished in every encounter like a hard, formed, solitary rock.
But I know I will continue again.
18
Leli
Blagonrarova
Leli, a Georgian photographer, who has established herself as a renowned photo documentalist and
gained recognition as the personal photographer of the 4th President of Georgia, Giorgi Margvelashvili.
This prestigious role allowed Leli to document the president's important moments, travels, and
interactions, and gave her an unprecedented opportunity to showcase her artistry. Leli's portfolio
encompasses a wide range of subjects, from portraits and candid street photography to breathtaking
landscapes and significant events. Her body of work tells a compelling visual story, each frame a
testament to Leli's ability to evoke emotions and provoke thought through the power of photography.
Former First Lady of Georgia Maka Chichua

in Brussels during the presidential visit
4th President of Georgia Giorgi Margvelashvili

in the yard of the Presidential Palace
19
From your point of view, what makes a good picture?
A picture that tells a story, even the one that is ‘blank’, but it
has a story behind it. A photo with a simple composition that
sticks to one’s memory.

Those people have continuously changed throughout my
career. Those are early photographs of Cartier-Bresson,
Robert Capa, James Nachtwey, Lindbergh, Annie
Leibovitz.
But W. Eugene Smith is probably the one that I would
highlight most. This is the photography that helps me all
the time, the one that conveys complex things in a
simplified and comprehensible manner. It is still fresh
nowadays.
In your free time, what kind of pictures do you like to
shoot and which ones do you avoid?
When taking photos for myself, I always shoot on film.
Film makes one reflect on things, stay in shape and it
doesn’t allow for mistakes. Film is profound, with endless
layers. I literally ‘relax’ when shooting on film, while the
shutter sound is enchanting, and let's not forget about
expectation, the magic of the developed film is important.
Leli Blagonrarova 20 From the Black and White series “Buildings in New York”
them in your work?
One’s life experience, a path traveled – that’s what Without storytelling, photos are voiceless and
makes a photograph. A photo reflects whatever one inexpressive. Even a single-photo story should tell the
has to share, whatever one has seen and experienced; story of ‘what you’ve shot’ and if that photo yields the
a photo becomes the same as the author. Therefore, result, you further develop as a person.
one should always think about development, no Tell me something you struggle with as a
matter the means that could help achieve it, be it photographer. How do you work to overcome it?
through books, music, or movies. It could be even It’s day-to-day work. No matter how trivial it may
dance, couldn’t it? sound, I shoot on a daily basis. It's kind of exercising
How do you approach storytelling as a and there’s no other way I can do that. The
photographer? competition is unprecedentedly tough. Once you don’t
There are many things happening around us and the keep up with modern times, you will be lagging
main point is that we should see and notice them, behind and be outdated. That's what I am afraid of. I
which comes through experience and a lot of shooting want to be forever young not physically, but rather in
practice. terms of my vision, which is crucial.
Building series from Tokyo, Japan
21
It’s freedom, to be more precise, freedom of choice. Books (fantasy), galleries, any albums, architecture, artists,
classical music, technologies, continuous search for a novelty…
A persistent, continuous work. Although this work is often undervalued, you should keep working, no matter
whether you are sleepy or lazy, warm or cold.
I am the ‘last man standing’ of the Old School. My photo career started at the end of the 90s, shortly before digital
photography has been introduced. Though I myself still get back to film photography. Photography has always
developed along with technology. So, we will follow the technologies to wherever they get to, and I will keep in
step with them as well.
Play on the bridge, Anaklia, Georgia
22
Adi Loțcu
Adi Loțcu is an aspiring artist based in Bucharest. Since a young age, he has been dedicated to studying
theatre, focusing on acting, puppetry, and drama teaching. Adi has also developed a deep fascination
with 19th and 20th-century photography, driven by a curiosity to explore how the world appeared in the
past. In 2020, they acquired an old Zenit camera, and ever since, his passion for photography has been
ceaseless.
Adi's photographic style encompasses

both black and white and color
compositions. His goal is to capture
moments that transport viewers to a
special place with a captivating
atmosphere. Through the lens, Adi strives
to evoke emotions and create an
enchanting visual experience.
''I never met my paternal grandfather. He

passed away before I was born. Having just 3
photos of him had a great impact on my
visual perception. I am truly fascinated by
19th and 20th-century photography and
always wondered why he never took more
photos of himself. This small emotional
detail became a mission of my adulthood, to
recreate the atmosphere of his time, through
old buildings that he might have seen, streets,
and so on. Maybe someday I’ll get the same
question “Why don’t you have more photos
of yourself?” and at that very moment, I will
realize that some things never change.''
23
How did you first become interested in theatre was keeping it in a box, not knowing if it works or not.
and photography? He bought it back in the 80s from Russia and used it
Theatre and photography didn’t meet at the same once or twice. I was thrilled to know that I was about
place and time in my life. Actually, there are ten years to use a brand-new vintage camera and from that
between the two. To be honest, in both cases, it was moment on I completely fell in love with vintage
somebody that I saw doing it and it was so inspiring devices. A big part of this passion is also the love for
that my brain and my heart instantly said: „I want to the device and the user’s experience.
do that! Whatever it takes!”.
Can you tell us more about your experience
studying theatre and the different areas you
focused on, such as acting, puppetry, and drama
teaching?
I was part of a theatre group in high school, and in
four years we went to a lot of festivals, watching
many plays and also playing on our own. When I was
eight, I saw my first puppet theatre play and I was
mesmerized, it was magical. Fast forward to my 20’s I
wanted to recreate that magic and I knew I can do it.
Drama teaching came as a cherry on top when I
discovered that I can inspire others to know what I
know and to love what I love.
What draws you to 19th and 20th Century
photography? How has it influenced your own
artistic style?
On the technical side, in both the 19th and 20th
Century almost every camera was mechanical, and
that made the photographer to think, to prepare and
to compose the shot. A roll of film made them think
twice before shooting because the number of shots
were limited, as they are today. On the emotional side,
the past two centuries can be felt through
photography. We learn so much in school about
history and what happened in the past and I feel that
photography almost gets me there and helps me see
and feel what people experienced back then.
Could you share a bit about your journey of
acquiring the old Zenit camera? What motivated
you to continue pursuing photography after that?
I bought my Zenit online from a metal sculptor who
24
Do you have a preference for shooting black &
white or color? What factors influence your
decision when choosing between the two?
When I first started shooting, I was going all black &
white. It felt dreamier, kind of keeping a bit of
distance from the immediate reality. That way people
could just imagine what colors I saw when I took the
shot. Now I’m in my color period, the same dreamy
look but I want people to feel those colors, to get them
closer to my experience. Other times it’s easier to
choose, if it’s sunny I’ll choose the color and if it’s
overclouded, I’ll go with the black & white.
What do you consider to be the key elements that
create a special atmosphere in your
photographs? How do you aim to capture those
moments?
My personal journey with street photography taught
me that the most powerful shots are the ones that
have the human touch. Maybe one day I’ll catch a
good light over a beautiful building, but nothing
compares to a spontaneous moment happening on the
street, like somebody playing an old piano on the
sidewalk surrounded by flowers. I just have to keep
myself curious wherever I go and as long as I keep my
eyes open, I’ll find something to catch on film. I will expand even more. I have some ideas to turn
How do you envision your artistic journey into projects, such as: “Bucharest seen as Gotham”,
evolving in the future? Are there any new “Catching my childhood memories on film” and
techniques or projects you're interested in “Romania’s Art Deco buildings”. And that’s just a
exploring? glimpse
25
Can you describe a particularly memorable or impactful moment that you've captured through your
photography?
It was a sunny day a couple of years ago and I was standing in a church’s yard. I thought it was empty at first but
then I saw a priest in the distance walking slowly with his hands behind his back. I raised the Zenit to my eye and
started following him but I didn’t know when to shoot, so I just waited to see what happens. In the very last
moment, right before he entered the church, the shutter went off and to this day I consider that photo one of my
dearest.
Are there any specific themes or subjects that you often explore through your photography? If so, what
are they and why do they resonate with you?
Old buildings and sometimes cats. I love cats and when I meet them on the streets, I take a moment and if they
don’t run away, they’ll turn into models. Old buildings will always catch my interest because it was my starting
point, the very first thing that got me into street photography.
I’m from Romania and I live in Bucharest. This city has a lot of old buildings and I fell in love with them and their
history. My favorite ones are Art Deco.
All published analog photos were taken in 2020 and 2022 with Zenit TTL and Canon AE-1 Program. The photos were taken in Romania and Germany.
26
Alice
Lenkiewicz
Her creative work, characterized by visionary elements, primarily revolves around dream-like paintings that
combine mixed media and digital techniques. However, photography has also been a parallel passion throughout
her artistic journey. In contrast to her paintings, her photography focuses on capturing the essence of places,
highlighting the architectural and historical aspects of various cities in the UK and abroad. Additionally, Alice has
developed a profound interest in found art, drawn from her extensive travels, which have offered abundant
opportunities to capture the beauty of landscapes and unexpected scenes, including people, buildings, and
objects. Her photographic style celebrates the forms and textures present in her subjects, seeking captivating
contrasts between objects and their surroundings. She particularly appreciates the expressive qualities of black
and white photography, relishing its ability to convey depth, tone, and shadows.
27 Lake District view, 2021

Where are you from and how does that affect your
work?
I was born in Tavistock, Devon, and brought up in
Plymouth, a port city and a mixture of industrial as
well as outstanding natural beauty. I have lived in the
North West, UK since 1998 and so I have gained
inspiration from these areas, including Merseyside,
North Wales, and during my travels abroad. My
mother’s relatives were originally from Wales and my
relatives, on my father’s side, were from Eastern
Europe, Poland, and Germany. The location of my
upbringing and the stories of my relatives have
provided me with a wonderful platform in which to
branch out and experiment creatively.
What is your background?
My father was a portrait artist in Plymouth and so I
was always surrounded by art. Although my career
has been primarily about painting, you could say I
have pursued photography quietly in the background.
As a young girl, I was given a little manual Kodak
camera as a present. I loved it and took photos
View of Mount Vesuvius - Sorento, 2022
wherever I went. When I left home, I completed an art
foundation course where photography played a role
in my creativity. I went on and pursued my career in I later moved to Ormskirk to study Art & Design and
art, later living in London and then Brighton. I English. It was after this, that I continued to pursue
traveled through America and later on I had two my art and write some books and poetry. I later
daughters and we lived in Oxford. moved to Liverpool where I still reside.
Monte Carlo View, 2016
28
What inspires you?
I started to become aware that I was documenting buildings when I first moved to Merseyside, particularly in 2002
and later on when the city became the capital of culture. I am particularly drawn to street photography.
Historical, natural, and industrial landscapes inspire me as well as decaying walls, graffiti, architecture, nature,
and the artistic process that arises out of the process of construction and demolition. I appreciate fine art
photography, particularly surrealism. Film noir has always fascinated me and has inspired me with the subtle and
dramatic contrasts, shadows, and light that I enjoy in photography.
I think a good picture makes a person feel that a place is more than just a snapshot. I think it’s important to engage
with the subject. Something specific needs to capture my attention. I want to get the best that I can from this
memory and this image before me. Lighting and composition are important components but a sense that the
viewer appreciates and values that scene, adds resonance to the final result.
29 Rooftops - St Gilles - France, 2016

Who influenced you the most?
The first photographers that inspired me as a young imagination and intuition using mostly color. With
girl, even though I wasn’t aware of who they were at photography, I am more of a realist. I like to record
the time, were Francis Frith, George Hurrell, and Cecil the scene before me. They are very different
Beaton. I always enjoyed drifting into these exotic and approaches for different mediums.
sublime photos of the Middle East by Frith and the
intimate and glamorous photographs of Greta Garbo
and Jean Harlow by Cecil Beaton and Hurrell. Later
on, I enjoyed the work of Man Ray. If there was a
photographer who I would say inspired me now, it
would more than likely be the French photographer,
Eugène Atget. I am very drawn towards the
Positano View, 2022

mysterious silence and beauty of his empty streets,
buildings, balustrades, reflections, and his
celebration of space and perspective. This is the kind
of photography that most appeals to me.
them in your work?
I believe the details that make the best photographs
are those that reveal an interest in the negative spaces
as well as the subject itself. I think the surrounding
space of a photograph and the gaps and shadows are
just as important as the main subject you are
photographing. For instance, in Atget’s photography,
he draws attention to the reflections in the water and
they are just as important as the surrounding objects
themselves.
How do you approach storytelling?
Storytelling for me begins by looking at the design and
corridor - Barcelona, 2023
the history of a building and its overall atmosphere.

What is this scene telling me? Why did I stop to
observe this particular scene longer than others?
Sometimes it is just a feeling but there are times when
we are just captivated by something very special and
wish to preserve this moment.
I find what inspires me in painting is different from
what inspires me in photography. With painting, I am
more visionary and like to paint from my
30
View of Louvre - Paris, 2020
What is the biggest challenge of

being a photographer?
I think certain challenges for
photographers are to do with how they
wish to identify in terms of their genre.
If one can create what they love and
also sell it without deviating from their
main medium and approach, that
person is very fortunate. For me,
photography has always been an art
form, something that I enjoy doing
because it seems natural in terms of
being an artist and observing the
world around me. Photography and
painting, although different genres are
included in my overall art practice.
What, in your opinion, is more
important: the shooting itself or
post-production and editing?
It’s a balance of both I think and it
depends on what kind of camera you
use and the situation you are in when
photographing. I tend to use a manual
digital camera and a mobile phone
camera. Whatever I use will decide
how I create the image and the process
I go by. I like to make sure I compose
and get the right angle in my
photograph to the best of my ability. I
am aware that it will more than likely
benefit from some basic editing and
whether it will be black and white. All
components I feel can enhance and
make the final photograph more
interesting and presentable.
31
Zahra Farsi
''In my photography, I am not only exploring the beauties, but I also record environmental problems
and social issues. Photography opened a new window of life for me. Photography made me a more
accurate view of my surroundings. I love to travel and I capture beautiful and wonderful moments on
my trips. The works of great photographers have also opened my mind to creating conceptual messages
in my work. So, I strive to create images that evoke a sense of wonder and aesthetics''
Suspended in the mist 32

How did your passion for nature and historical record them and try to convey these concepts to the
places photography develop? Can you share any audience so that maybe I can help prevent the
specific experiences or moments that sparked destruction of nature and be effective in establishing
your interest in these subjects? justice between people.
I am very interested in travel, nature, and art. So, I
take every opportunity to travel to new places and
take pictures. Recording the memories and beauty of
nature and historical places is very exciting and
lovely. Travel photography is a unique and
challenging form of photography that requires
creativity, technical skills, and an eye for capturing
the true essence of a place.
As a photographer, how do you approach
capturing the essence of nature and historical
places in your photographs? Are there any
particular techniques or perspectives you use to
convey the beauty and significance of these
subjects?
I try to capture the heart and soul of a subject and
place. Every image tells a story and I explore how that
is done. I think it is very important to understand the
meaning and concept of the subject in photography.
The sense of capturing the concept should be formed
in the photographer. "Aha" feeling. I understood. Then
I look at it from different angles and try to capture the
best shot.
In addition to nature and historical places
photography, you mentioned being interested in
environmental problems, climate change, and The passage of life
social issues. How do you incorporate these The past
themes into your work, and what message or

emotion do you hope to convey to viewers
through your photographs?
As a nature lover, one of my main concerns in life is
preserving nature and the environment, and even in
my classrooms at the university, I emphasize to my
students to take care of nature and the environment.
When I come across themes such as socio-economic
problems, air pollution, excessive production of
waste, and processes that destroy the environment, I
33
Living in Tehran, Iran, how do your surroundings continue to pursue your passion?
and the local culture influence your Despite having a great interest in photography and
photography? Are there any specific aspects of considering the many responsibilities I have in my
your environment that you find particularly life, my most important challenge is not having
inspiring or challenging to capture? enough time for photography. However, I try to
Iran has a very old historical background and provide opportunities for photography, which is my
civilization and it has very beautiful and amazing favorite art.
historical places. Also, Iran is a country with four I will survive
seasons climate and extremely beautiful nature. And
in my travels, there were many opportunities to
record these beauties and I tried to use these
opportunities.
Can you describe the role that photography plays
in your life and how it helps you find balance and
cope with the stresses of everyday life? How does
the act of capturing moments through
photography bring you joy and fulfillment?
I have a doctorate in nursing and I work as a
professor in a university. People who work in the
field of medical sciences experience higher stress
than other people due to dealing with the concerns
and problems of patients. For me, art and especially
music and photography are considered strong
moderators of everyday stress. Photography makes
me feel better.
What are some of the biggest challenges you face
as a natural and historical places photographer?
How do you overcome these challenges and
the life And suddenly a tree
34
Are there any photographers or artists who have influenced your style or approach to photography? How
have their work and ideas impacted your own artistic development?
I cannot name a specific person. But I follow famous photography pages on Instagram and the Internet and look at
the works of the best artists and photographers in the world. I think they have had a huge impact on my
photography style. In addition, the photography course that I have taken and the photography exhibitions that I
participate in and see the works of other photographers have also been very effective.
Could you share a memorable photography experience or project that has left a lasting impression on
you? What made it significant, and how did it shape your artistic journey?
The photos I took during my last trip were noticed by most of the audience, especially photographers and
photography professors. On the recommendation of several prominent photographers and professors of
photography, I participated in a group exhibition in Tehran, three of my photos were accepted, and one of my
photos, which was a picture of one of the mosques in Isfahan, was accepted as the best photo of the exhibition.
And this motivated me to participate in this international competition for the first time and I am very proud that
my photos were accepted in this competition.
Caravan
35
Do you have any favorite locations or destinations for
photography within Tehran or Iran as a whole? What draws you
to these places, and how do you capture their essence through
your lens?
As I mentioned before, Iran has many historical places and beautiful
nature. From the dense forests of Gilan to the deserts of Kashan and
Kerman, from the Caspian Sea to the Persian Gulf, this diversity of
climates helps me not to limit myself to a specific place and capture
beauty through the lens of my camera.
Looking ahead, what are your aspirations and goals as a
photographer? Are there any specific projects, exhibitions, or
collaborations that you hope to pursue in the future?
I am very proud that some of my works will be exhibited in two
photography exhibitions in Tehran in a few days. I think I have a very
lovely and exciting road ahead of me in the field of photography and I
have decided to take part in international photography exhibitions
and competitions more seriously. So, I strive to create images that
evoke a sense of wonder and aesthetics. I hope my work will inspire
others to see the world in new and exciting ways. monarjonban
40sotoon
36
Yazdan Shiri
Hailing from Iran, Yazdan Shiri finds himself facing significant economic crises and challenges that
make it difficult to invest in new cameras and lenses. These circumstances impose additional limitations
on his photography journey, creating obstacles that must be overcome. His journey as a photographer
began in 2015, and from the very beginning, he found himself captivated by the beauty of nature.
Drawing inspiration from the natural world and its myriad aspects, he channels his creativity into
capturing the essence of the outdoors through his lens. Nature becomes his muse, guiding his artistic
vision and shaping his photographic style.
In addition to his exploration of nature

photography, he has also ventured into the
realm of advertising photography. This
diverse field encompasses various genres,
including fashion, food, and industrial
photography, allowing him to expand his
skills and adapt to different visual
contexts. Collaborating with content
creators, he has honed his ability to
capture striking images that effectively
convey messages and evoke emotions.
Beyond still photography, he has also
delved into the realm of filmmaking,
working as a cameraman on several short
films. This additional pursuit allows him to
further express his creativity and
storytelling abilities through moving
images, expanding his artistic horizons.
Throughout his artistic journey, music has
served as a powerful motivator and source of inspiration. It fuels his creative spirit, guiding his artistic
choices and infusing his work with emotion and depth.
As he continues to navigate the challenges of the economic landscape, he remains dedicated to
developing his photography career, blending his love for nature, diverse genres of photography, and the
evocative power of music to create meaningful and captivating visual narratives.
37
I am from Iran and here we have some serious economic crises and problems which really makes it difficult to
buy gear and stay tuned for new cameras and lenses. It imposes more limitations than usual.
I started photography in 2015 and from the start I got fascinated by nature. I also experienced advertising
photography which contains fashion, food, industrial, and some independent content for content creators.
Currently, I'm working on several short films as a cameraman, while also trying to make my photography career.
What details do you believe make the best photographs? How do you go about focusing on them in your
work?
It depends on the style I go for, sometimes I want to make a simple minimalistic photo so I care about negative
space more than anything, occasionally it's just about finding the correct angle and order of photography
elements.
I think an artwork should have grace and a little sense of poetry, and strike a proper balance between form and
content. A perfect artwork should define itself.
I am greatly influenced by Independent and Avant-garde artists like David Lynch, Nicolas Winding Refn, Bella Tar
and of course, Ansel Adams.
38
What inspires you?
As a nature photographer, my main inspiration is nature and all its aspects. Moreover, music was a very powerful
motivation for me.
How do you approach storytelling as a photographer?
I don't consider myself a storytelling photographer because my way of making art, most of the time, is trying to
express my feelings and visions in the best way possible, and I catch just the moment not the story behind it;
neither before nor after that.
What do I enjoy watching? As a nature photographer, nothing can make my day better than breathing in the
jungle and watching the dance of the clouds on a mountain.
It has different challenges for every person, but for me personally, massive economic problems would be at the
top of the list, and just like choosing the best situation for taking a photo which is a challenge, living here comes
with enormous difficulties as well.
What, in your opinion is more important: the shooting itself or post-production and editing?
These two elements have some undeniable effects on each other when bringing to life the vision imagined in my
mind. So I rather say as the shooting itself is important, so is the process of getting the best result of that picture
afterward.
39
Rytis
Gervickas
Rytis Gervickas has been immersed in the art of photography for over 15 years, dedicated to capturing
moments through analog tools. Choosing to work exclusively with analog equipment, he finds solace in
the tactile nature of the process. Developing his own film and meticulously crafting gelatin silver prints
in his modest darkroom, he revels in the hands-on experience of bringing his images to life.
In his photographic journey, he draws inspiration from renowned Lithuanian photographers such as
Vytautas Balcytis, Remigijus Treigys, and Alfonsas Budvytis. These artists are known for their ability to
capture the "aesthetics of boredom," finding beauty and intrigue in the overlooked and mundane.
Inspired by their approach, he seeks to train his lens on subjects that often go unnoticed by the average
observer. By framing and isolating these fragments of the world, he aims to transform them through
the alchemy of film, paper, and chemicals. Although he has participated in several group exhibitions
and a handful of intimate solo shows, he acknowledges the challenges of finding an audience for his
work. Being different and deviating from mainstream photography often makes it difficult to connect
with a wider audience. Yet, he persists, knowing that his unique perspective and commitment to his
craft are essential elements of his artistic journey.
“Crisis”
''Mind in the state of chaos. Driven by anxiety, confusion, and uncertainty. The perfect picture of a soul
in disarray. A camera is a tool to look and find some kind of order. Resulting in disordered, dirty,
underexposed, grainy images. Result of scattered thoughts and side effects of medications, lack of
sleep, constant fatigue, and state of waken dreams. No sunlight in sight. Everything is half-light, by an
electrician. Closed spaces melt into open-air scenery. A camera is a tool to watch, notice, and capture
pieces that are still visible, still relevant, just for me.
All photographs were created with a 35mm analog camera.
This collection of photos was created when I was suffering a so-called „flair-up“ of my mental
problems. Suffering from anxiety, panic attacks, and depressive thoughts. With these photos, I wanted
to create a mood, a feeling rather than a „beautiful“ image.''
41
Could you share more about your journey as a rather than just a tool for documentation was
photographer and what initially sparked your incredibly important. I saw that you don’t have to rely
interest in analog photography? on photographing people or traditional beauty shots. I
I started messing around with a camera about 17 felt like it gave me the freedom to photograph
years ago. For about 7 years my tool was a digital absolutely everything.
camera. Your statement mentions an interest in capturing
I used to do a trick that made my photos look as if they things that most people don't pay attention to.
were taken with a film camera. Eventually, I realized What is it about these overlooked subjects that
that the only way for me to go to keep enjoying intrigue you, and how do you transform them
photography is to start using analog equipment. through your lens and the use of film, paper, and
Developing your own film and creating gelatine chemicals?
silver prints in your darkroom is a unique and Taking pictures of so-called ordinary objects can be
hands-on approach. What draws you to this very exciting. For whatever reason those objects
process, and how does it contribute to your become interesting to me. I feel like my pictures are
artistic expression? about mood rather than beauty. The camera lets me
Doing everything myself lets me be in control of all isolate whatever I choose, take it out of context, and
the mistakes that can happen while going for the final make it “important”, make it more valuable. I believe
result. I don’t have to worry about someone else that photography changes everything that gets in its
making mistakes or manipulating my pictures. way. For that reason, I just trust the camera, film, and
Having this full control is incredibly freeing and chemicals to do their “magic”.
exciting. I can allow myself to take pictures and don’t Can you tell us about the group exhibitions and
worry about the final result. I also don’t have to worry personal shows you've participated in? How have
about what someone in a lab might think of my work these experiences shaped your artistic journey
or the editing they might want to do. and helped you navigate the challenges of finding
How have Lithuanian photographers like an audience for your work?
Vytautas Balcytis, Remigijus Treigys, and My first bigger shows were back in my “digital” days.
Alfonsas Budvytis influenced your aesthetic and It always was and still is an incredible feeling to have
approach to photography? In what ways do you my work shown among other artists. Every
incorporate the "aesthetics of boredom" in your opportunity that I get to show my work is like a
own work? justification for what I am doing. Because of my style,
I remember seeing the works of Vytautas Balcytis for I don’t get many opportunities, so the ones that I do
the first time and just feeling an incredible sense of get are incredibly important.
discovery. His pictures were something that I always Being different in the world of photography can
dreamed about doing at that time. I started really present its own set of challenges. How do you
researching the internet and literature searching for embrace your unique perspective and artistic
more similar works and photographers. That’s how I vision while also seeking recognition and
found out about photographers representing what connecting with an audience?
might be called the “aesthetics of boredom”. Their It all comes down to feeling some kind of excitement,
approach towards photography as an art form or curiosity. I don’t think I have what it takes to make
“pretty” or perfect ” pictures”. I rely on my
44
own sense of what is interesting, I always remember What do you hope viewers take away from your
people who inspire me and the work that they do. photographs? What emotions or responses do you
Getting my work noticed can sometimes be hard. aim to evoke through your images?
Especially since there are so many great The best thing I can imagine happening is my picture
photographers taking great pictures. But from time to making the same impression on someone that the
time a “miracle” happens and my works get noticed pictures of my idols made on me. I really hope that
and featured among other great works. Being part of viewers get some kind of mood from my photos. I
your publication is one of those miraculous things too. don’t think there is a lot of traditional attraction to my
Every opportunity that I get just makes me keep on work, they aren’t technically perfect or beautiful. I
going. I gave up on trying to satisfy somebody’s tastes just want to show that ”anything is photographable”
long ago. All I care about is getting emotional and as the great Garry Winogrand once said.
artistic release from my works. It's a selfish approach, Looking ahead, what are your goals or aspirations
but photography is the only part of my life where I feel as a photographer? Are there any new techniques
like I can be myself. or projects you're interested in exploring, or any
Are there any specific projects or series that venues or platforms you hope to showcase your
you've worked on that hold significant meaning to work in?
you? Could you describe one of them and the story Lately, I became interested in landscape photography.
behind it? Having said that I don't strive to be Ansel Adams or
The most important one from recent times is the one Michael Kenna, though I admire the works that they
called “Crisis”. That’s the project where I gave myself did and do great. I am trying to approach the
complete freedom. I took every picture that I wanted. landscape with the same goal of transforming what I
Completely trusting my senses and giving in to the photograph with the help of film and chemicals. I am
mood and feeling that I felt. I said “f…. it” I don’t care also trying to do some street photography but find
what anyone will think of the final result and if it will myself returning to the principles that I used before,
ever be published or featured anywhere. That series the street becoming another collection of fragments
was based on my emotional and mental state at the rather than a busy world. All in all, I hope to continue
time. It's all about being true to myself, that’s the only feeling that same excitement and feeling of discovery
way I get satisfaction from doing this thing. that taking and printing pictures gives me. I will keep
How do you approach the composition and submitting my work to deferent calls and events,
framing of your photographs? Are there any hoping someone will appreciate them.
specific techniques or principles? It would be amazing to have a gallery representing
I guess the only rule of composition that I know is not me, but it’s a big and unrealistic thing to ask for. In the
to put an object in the center of the picture. end, I will rely on photography to be my way of
Having said that it doesn’t mean that I follow that rule. expression and a tool for dealing with the world, and
I just rely on what I see through the lens and whatever challenges ahead.
feels right. Often times the best results come as a
surprise rather than a well-thought-out thing. I always
have the pictures that I saw by my idols in the back of
my mind, and I guess that is the key influence on my
framing and composition.
45
Tomi Borza Untitled, 2022
"Ideas for my projects come naturally, and I don't want to force them. Any subject that inspires me as a person
and is coherent and suitable for a project is suitable for exploration. My hope is that my art ages well and that I
achieve a higher standard in my commercial work through my artistic work."
Tomi (Tamás-Richard) Borza, born on the 16th of October, 2000, in Oradea, Romania, is an emerging
artist and photographer. Even during his teenage years, Tomi's artistic pursuits extended beyond
photography. He nurtured his love for art by actively participating as a drummer in numerous bands,
exploring the rhythmic and expressive world of music. His appreciation for the arts further expanded to
include auteur cinema and literature, which continue to inspire his creative journey. Furthermore, he
developed a fascination with IT and excelled in programming competitions. However, his passion for
photography eventually took over. After leaving his engineering studies at university, he decided to
pursue a professional career in photography. Tomi ventured into various entrepreneurial endeavors,
including online marketing, commercial photography, and printing, and even worked as a photographer
for the Romanian Government. As he worked with clients, he realized that his unique photography style
attracted attention and sparked a desire within him to explore the creative side of photography further.
Subsequently, he enrolled in a visual arts/photography degree program at the West University of
Timișoara. He is also a "Creative Member" of the Varadinum Photo Club. Tomi's talent has been
recognized through exhibitions in galleries such as PH21 Gallery in Budapest, Hungary, Mansarda
Gallery at the Faculty of Arts WUT, Art Center WUT, and places like the Parliament of Spain and
Philharmony of Oradea.
50 At the airport, 2021

Can you describe the journey that led you from Your interest in IT and programming
being a drummer in bands to pursuing a career in competitions is intriguing. How, if at all, does
photography? How has your background in music your technical knowledge in this field intersect
influenced your artistic approach to with your artistic practice in photography?
photography? My technical knowledge in IT and programming
As an awkward kid, music was one of my main intersects with my artistic practice in photography by
getaways from everyday life. First, I started listening aiding in the understanding of technical aspects of
to numerous bands and genres, then I found that I photography, and proficiency with computers and
have a special appreciation for the ’70s and 80’s editing software.
rock/hard-rock/metal music. While I couldn't explicitly Could you share some insights into your
recognize the connection at the time, I believe that the experience working as a photographer for the
raw sound and carefree attitude of this music Romanian Government? How did this
resonated with me. Although I can't pinpoint a direct opportunity shape your understanding of
correlation, it's likely that these influences have photography as a profession?
unconsciously translated into my approach to During my year-long journey across Romania working
photography. for the government, I focused on capturing and
You mentioned having an appreciation for auteur documenting the Ministry of Development's work, as
cinema and literature. How do these art forms well as serving as the official photographer for
inspire and influence your creative process as a various diplomatic events. This constant travel within
photographer? my country exposed me to diverse people and places,
Auteur cinema and literature both revolve around the honing my skills as an attentive observer of my
art of storytelling, which profoundly impacts my surroundings. Consequently, my photographic style
photography, imagination, and perception of the underwent a transformation, becoming more serious
world. While a camera is merely an object, as a and disciplined. The demands of producing
photographer, I utilize it to channel my past documentary and reportage photography required
experiences, drawing inspiration from various me to carefully select the most fitting images for each
sources including auteur cinema and literature. context. Additionally, adhering to a strict schedule
played a crucial role in my personal growth.
As you explored different entrepreneurial
endeavors, including online marketing and
commercial photography, what valuable lessons
or experiences did you gain that contributed to
your growth as a photographer?
Engaging in online marketing and entrepreneurial
ventures taught me valuable skills in business
management, client interaction, and marketing
strategies. These skills are essential for effectively
promoting and positioning yourself as a photographer
in such a competitive industry.
Unexpected storm, 2022
51
Your talent has been recognized through What motivated you to pursue a visual
exhibitions in prestigious galleries and venues. arts/photography degree program at West
Can you share one memorable exhibition University of Timișoara? How has formal
experience and the impact it had on your artistic education in photography enhanced your skills
journey? and expanded your artistic horizons?
My most memorable experience to date was attending In my hometown of Oradea, there is no specific
the opening of the "Silence" exhibition at PH21 Gallery university specialization for photography. The local
in Budapest, Hungary. It was a great opportunity for faculty of arts focuses primarily on traditional art
me to meet Zsolt Bátori, the gallery's director and forms such as painting, design, graphics, and fashion
curator, who is not only a photographer but also a design. As a result, I had to look to the nearest city,
philosopher of art. We engaged in a fascinating Timisoara, to pursue higher education in
conversation covering various topics such as photography. I was motivated by a sense of reaching a
photography, art, business, and more. barrier in my commercial work and a desire to
elevate the quality of my photography to a higher
standard. Through formal education in photography,
I am now able to study the subject on a deeper level,
Pigeon, 2021
surrounded by references, professors, and colleagues
who share my interests. I have come to appreciate the
importance of formal education in the art field as it
provides a better understanding of my chosen field of
study.
As a "Creative Member" of Varadinum Photo Club,
how does your involvement with the club
contribute to your growth as an artist? What
benefits do you find in being part of a creative
community?
I think photo clubs, are a great way to get started in
photography. The benefits of being part of a creative
community like the club include having a supportive
network of like-minded individuals, opportunities to
showcase my work in group exhibitions, and the
chance to participate in organized photo trips.
In your photography, do you have a particular
style or subject matter that you find yourself
gravitating towards? How would you describe
your unique photography style that has attracted
attention?
In my photography, I find myself drawn towards
documentary/reportage as it is a style I have
extensively practiced throughout my professional
52
journey. Additionally, I enjoy experimenting with abstract, motion, and portraiture genres. When it comes to my
unique photography style that has attracted attention, I prioritize interesting composition, dynamism, and clean
work in my commercial photography. I meticulously select the best pictures that align with my client's needs,
resulting in a distinct aesthetic that sets me apart from my competition and appeals to my clients.
Looking ahead, what are your aspirations and goals as an emerging artist and photographer? Are there
any specific projects, collaborations, or milestones that you are excited about pursuing in the future?
In the future, my aspirations as an emerging artist and photographer include completing my bachelor's degree in
photography and potentially pursuing a master's degree or even a Ph.D. in the field. I have ongoing projects that I
am dedicated to, but my primary goal is to actively participate in various calls for submissions. This will allow me
to expand my CV and portfolio, opening up new opportunities for growth and recognition in the art world.
Roundabout, 2022
53
Emma Brink Laursen
Emma Brink Laursen, born in 1997 in Esbjerg, Denmark, is a talented

photographer currently residing in Berlin and Copenhagen. Alongside her
photography pursuits, she is a dedicated student of Comparative Literature,
pursuing her studies at both the University of Copenhagen and Freie Universität
Berlin.
''The embodiment of place is a theme that I come to again and again in my

photography. Places become like mirrors of the intimate experiences that I have
shared with the people closest to me. Regardless of the fidelity of any claim to
photographic truth, photography is value-producing. My goal is to transgress the
limits of photographic objectivity by gently heightening the impression of emotion
that my subjects elicit. I try to accomplish this amplification through
juxtaposition. The photographic couplings that I am submitting are intended as
pathetic unities, yet they depict disparate settings - settings that only gain
differential value through my subjective sense-world.''
54
I grew up on the windy coast of western Denmark, far away (at least it felt so as a little girl) from the art
institutions, theatres, etc. of Copenhagen and Aarhus. I, therefore, was not exposed to much art until I was old
enough to seek it out myself. However, my dad was a camera nerd and had fancy cameras that I would play
around with. I had so much fun and my excitement and knowledge about photography definitely established at
that time. In certain situations, I become uncomfortably aware that I do not come from an artistic nor academic
background and sometimes I struggle with a feeling of not belonging, of having entered the wrong room.
I believe that the most important task of the photograph is to create an emotional response. It might sound banal,
but if the photograph does not generate any emotions a strong composition, use of light, etc., become irrelevant. In
my opinion, those components are insufficient if they do not make the audience feel something.
Who influenced you the most? Is there any other photographer that you consider as a kind of idol?
Several photographers have influenced my photographic work. If I were to mention one, it would be the American
photographer Francesca Woodman (1958-1981) whose black and white self-portraits in abandoned spaces have
served as a great inspiration for me. The way she blends into these run-down spaces and lets them mirror her
inner experience and vice versa is truly captivating to me.
55 Untitled, 2023
In your free time, what kind of pictures do you like to shoot and which ones do you avoid?
I generally like to observe my everyday surroundings. In recent years, I have mainly been shooting film
photographs and I am therefore a bit more hesitant before clicking in comparison to when I shoot digital. I think
the hesitancy makes me a better observer and I prefer to shoot pictures that I really care about.
work?
I believe that the details of the subject matter are the most important. The photographer’s ability to observe a
situation and pay attention to those little details that otherwise might be taken for granted.
I like to plan ahead in the sense that I try to imagine the atmosphere that I would like to create. I decide upon a
setting, maybe certain colors, a certain kind of light, etc. However, I rarely plan my photographs in detail. It is
important to me to approach the story with an open mind and not by dictating it.
Untitled, 2023
56
Tell me something you struggle with as a photographer. How do you work to overcome it?
Photographing another person is a very intimate situation comparable to a good conversation. In order to make it
fluent and meaningful to both parts, it is necessary that both parts are present and flexible. I believe it is a shared
responsibility, but as the photographer, I am very aware of the importance of establishing this connection. I find
that responsibility challenging and I am trying to overcome it by throwing myself into these situations again and
again.
I often gather inspiration from movies and books. However, I believe that the best photographs I have taken are
the results of an impulsive urge to capture a certain moment of beauty, humor, authenticity, etc. that I have
encountered in my personal life.
I think that the biggest challenge of being a photographer today is the fact that photographs are everywhere. To
keep an audience captivated – or at least generate some kind of emotional reaction that is not complete
indifference – is hard.
Untitled, 2023
57
Daniel
Gantelev
Daniel Gentelev, a talented artist, obtained his B.F.A from Bezalel Academy for Fine Art and Design in
Jerusalem in 2012. Renowned for his expertise in working with rangefinder and Hasselblad medium
format cameras, Daniel's artistic vision revolves around capturing the essence of human life's rhythm
and cultural transmission. His creations draw inspiration from mythological references, intertwining
symbolic, psychological, and artistic elements from humanity's heritage within a contemporary context.
Daniel's fascination lies in exploring life's aesthetic manifestation through the dimensions of time and
space. Within his art, he delves into the literary realm and seamlessly blends documentary and
portraiture photography, creating a powerful interplay between the two. In his quest for artistic
expression, Daniel incorporates the profound enrichment of oriental perspectives on transcendence and
the concept of māyā, highlighting the mirror-like relationship between time, space, and personality. By
skillfully weaving together Eastern and Western ideologies, Daniel's images resonate with immediacy,
offering a glimpse into a global era of human existence.
58
59 untitled, 2022
60 untitled, 2022
What led you to pursue a B.F.A at Bezalel Academy for Fine Art and Design in Jerusalem? How did your
time there shape your artistic development?
Everything began with Adventure. I spent 7 months traveling around South America. It was amazing. no words to
describe the beauty of our planet. I enriched myself so much with this journey. I would really do it again! but at
one crucial moment, I felt that I should study art and get the right tools. Therefore I considered applying to the
Bezalel Academy of Art in the field of photography and art studies. but I really felt that continuing to travel is a
good idea too. Since my grandmother was a teacher of literature. I have a big affection for books and books with a
visual context. I wanted to try to combine the visuals and the writing. I thought it would be my passion. In visual
arts, I loved the painting world, especially of the Dutch masters, the Nordic countries, and photography and films
from the early 1940 and 1950 and on in Europe. I loved the costume design world very much too. While studying in
the academy I tried a different perspective. but I have to say, I was drawn to fashion style quite in
the beginning and didn’t feel we had it very well adjusted with the photography department. Maybe I was a bit
disappointed with that in the beginning. because I loved this theatrical world and stage. but it didn't matter in the
end. I was learning after all. I can also share my passion for street photography… I got very good teachers whom I
really admire. My interest came as well from European cinema. Especially the one from Italian Neorealism and
Scandinavian cinema. It was very influential in my view.
Could you describe your preferred cameras, the rangefinder, and Hasselblad medium format? What
attracts you to these particular types of cameras and how do they contribute to your artistic process?
Today I can say that I don't have preferred cameras. I think a camera is something very physical. I don't really
mind. I would love to have some atmospheric moments at first. I get inspired by so many things. I love the dream-
like style. As for the Hasselblad, I like the physical touch and noise of the camera. Also, the design is of course very
nice and friendly to use. I came to this format gradually. In the beginning, I used the tripod. but today I trained
myself using it with the pistol grip and it is very nice indeed.
How do the transmission of culture and the representation of human life's rhythm inform your artistic
work? Can you provide some examples of how this theme is reflected in your art?
I always loved stories about adventures. And life is a very long adventure I tell you and when you get on in years
and look back and realize the role that certain people have played in your life, it is surprising. Sometimes it is just
that little kick that brought you into this path instead of that one. In Literature I was very into James Joyce’s work.
A portrait of the Artist as a Young Man and the art of Leonardo da Vinci in his wonderful, majestic translation of
everything into human values, seemed to me to represent what I was looking for and that which informed my
artistic work. On the title page of the Portrait of the Artist we see in Latin “et ignotas animum dimittit in artes,”
“and he turned his mind to unknown art”. Joyce helped release me into an understanding of the universal sense.
Not the anecdotal historical symbolization of the sense of these great universal symbols that come to us through
our religious heritage. but on the wings of art, an opening out of a mythological reading of those symbols.
What role do mythological references play in your work? How do you connect the symbolic,
psychological, and artistic heritage of humanity with contemporary life through your art?
One of the things I can remember the most was growing up in the Caspian Sea and around the Caucasus
Mountains, I was exposed to a lot of nature. The mountains and the sea. My Maternal father, and my
61
Grandfather had a farm outside the city and I spent a big amount of time there as a boy. The events with my
grandfather really formed my first experience with the mythological domain. I feel it coming back today, as I try
to tend to live with nature more. I love the mountains and the sea the most! Now any mythology must fulfill if it is
to render life to modern lives that of cleansing the doors of perception to the wonder, at once terrible and
fascinating, of ourselves and of the universe of which we are the ears and eyes and the mind. Regarding all these
life events that brought me here so far, it brought me to find those levels in the psyche that open, open, and finally
open the mystery of yourself. It is all about finding that still point in your mind where commitment drops away.
In your artistic practice, how do you explore the aesthetic form of time and space? How do you capture
and express these concepts through your photography?
Literature played a huge role in my artistic development. reading what you want and having one book lead to the
next, is the way I found my discipline in both theoretical and practical depth of photography. Some of these forms
and disciplines begin to look very much like the Kundalini awakening where you allow your own experience of
surrendering to your own quiet place within you. Then something from inside begins to come out, a kind of bliss
consciousness or high energy form seems to come, the transformation into the spiritual consciousness.
What draws you to combine literary context with documentary and portraiture photography? How do
these elements intersect and contribute to the overall narrative of your art?
The first realization came to me from my parents. My dad was a documentary filmmaker and screenwriter and
my Mom a Doctor. I inherited the talent and the zeal for crafts from my dad and patience and compassion from
my mother. The portraiture or documentary approach in my work is always with compassion for the other
person. So to say, Knowing pain is a very important ingredient to inform any artistic form. Being there for another
person is the representation of human life’s rhythm.
How does the Oriental understanding of transcendence and the concept of māyā influence your artistic
vision? Can you provide some insights into how these ideas are manifested in your images?
Māyā is the supreme power that generates and animates the display: the dynamic aspect of the universal
substance. it is at once, effect (the cosmic flux) and cause (the creative power). The concept of Māyā influenced my
artistic vision because it is a female organ, it is the active power and is regarded, mythologically, as being
spontaneous, loving acceptance of life’s tangible reality. you have to recognize to live in the moment and hold on
to your own being.
To live and to let live. To be in a good mood. I always enjoy the way, the process…I learn not to take it personally
when things don’t work out. In other words, just to let go and to have the sense to remain in a harmonious
relationship through the inevitable crises of a lifetime.
Looking ahead, how do you envision your artistic journey progressing in the future? Are there any
specific themes or techniques you're interested in exploring further?
I like Fashion and outdoor photography. I would like to make commissions for fashion and art magazines and
work with people who make beautiful things. I like very much working with writers and theater people as well.
62
Natalia
My biggest inspiration is nature.
Millman
My biggest fear is memory loss.
My biggest hope is harmony.
''My work investigates the process of aging, diverse notions of loss, and the symbiotic relationship between
humans and nature interrogating the precautious threshold between the physicality of the body and internal
narratives of self, the boundary between life and death.
My creative process is intuitive and incorporates research, observation, and experimentation with materials and
concepts. I analyze through tactile making. My work consolidates memories both real, imaginary, and
emotional. It looks at time as a boundary between the physical aging of mind and body and the notion of
continuity of “self”. This interest stems from my personal story of loss after my father died of dementia when I
asked a question: “When one loses their memory, do they lose their ego and identity?”.
I also look at the loss of status, feeling, or space: the sacrifices I make to fulfill my aspirations as a mother and as
an individual overwhelmed with the fragmentation of my identity and homeland.
I explore spirituality and the relationship between humans and nature: the contrast between harmony and
distress, growth and decay, the energies of spaces, and people, the transience of human form, and the value of
mindful reflection on the present. I regularly use breathing techniques when I work. My biggest inspiration is
nature, my biggest fear is memory loss and my biggest hope is harmony.
Much of my work is constructed from material found on building sites, which I give another life to by modifying
its past function and giving this object hope. The notion of treasuring the ordinary or broken is an essential part
of my creative practice. It is the result of resilient grieving, and my personal growth in the midst of a challenge
through the healing practice of art. My message is to expose what is dormant in human consciousness and be
“enough” even in the darkest moments. These emotions are validated in my work through expressive brush
strokes, limited and contrasting colors, cutting, burning, repairing, and mending.
I have a strong sense of community. Having produced my solo exhibition “Vanishing Point” in 2021, I now
proudly represent Arts 4 Dementia, a leading UK charity promoting creativity for people affected by dementia
and raising awareness and compassion. I enjoy running monthly workshops for people with dementia.''
Natalia Millman is a Ukraine-born London bases conceptual multi-disciplinary artist who works with
painting, photography, installation, video, and sculpture. She has been part of Insight School of Art since
2013. In 2019 she joined Studio Fridays, a mentoring platform for emerging artists where she continues
to research the philosophy of loss, aging, the human-nature connection, the role memories, and the
energy of resilient grieving.
63
You hold the light, 2023 I can feel you and it's enough, 2023
Can you share more about your artistic journey from Ukraine to London? How has this transition
influenced your creative process and the themes you explore in your artwork?
I remember coming to the UK in 2001 overwhelmed emotionally, struck by abundance and opportunities. As years
went by and I began to assimilate, the meaning of “home” began to blur. The fragmentation of cultural identity,
yearning to reconnect with the feelings evoked by memories, accepting the inevitable changes within me, letting
go of Ukraine without me in it, but longing to build a bridge while setting roots in the UK are triggering to
questions, I continue to ask myself – Where is home? Am I in two homes? Am I British or Ukrainian? The latest
tragic events in Ukraine have opened a new wound and because I find words challenging, I create them. My work
“Blood Snow”, and “Black Tulips” are responses to collective grief- a topic I continue to explore through my
creative practice.
Your artistic practice encompasses various mediums such as painting, photography, installation, video,
and sculpture. How do you decide which medium to use for a particular concept or idea? Do you have a
favorite medium to work with?
I often think that the reason I am working with so many mediums is due to my hyper-sensitive jumpy personality
and busy mind. I am always on the move and have tons of ideas and lists. I have a notebook by my side to jotter
thoughts as my mind can’t cope to hold it all in! Besides, I love learning new things. If there is a challenge, I am in.
If there is something I don’t know, I will read about it and try it out. Usually, I have a sensation, then a vision of
how the certain piece should feel and look. Then, I work out how best to deliver it, and what channel to use to
make it understandable. I use my gut feeling a lot in my practice and often take days and weeks just thinking and
visualizing that artwork in my head, mentally putting it together. My favorite medium has to be installation. I
enjoy the “putting together process” (no wonder I love Lego). When I make: get messy, break, or arrange, I am in
the most natural flow. I am drawn to its tactility, complexity of labor, and intimacy with the piece I am bringing to
life.
64
Insight School of Art and Studio Fridays have played significant roles in your artistic development. How
have these platforms and mentorship opportunities shaped your artistic growth and exploration of
concepts like loss, aging, and the human-nature connection?
I call these creative and mentoring platforms a bridge between me and the audience. They help me pause and
reflect, practice speaking about my work, look at it from a different angle, and self-critique. Mentoring is a great
way to dig deep into the topics I am researching and really question why am I doing what I am doing and who is
authentic to me. Besides, it is a great way to connect with other creatives, and although I don’t mind my own
company, being out there, and learning what others are doing is very inspiring, and often such connections
enlighten my own projects.
As an Ambassador of Arts4Dementia, how do you incorporate creativity into your work with people
living with dementia? What insights have you gained from these collaborations, and how have they
influenced your artistic practice?
My collaboration with Arts4Dementia was an answer to my call to know more about dementia and make a
difference. My family had a first-hand experience with it and the lack of knowledge about dementia and stigma at
the time proved my ignorance. I was looking to make things better and if I could not help my dad, I wanted to help
others. Collaborating with a charity that is so passionate about promoting art among people affected by dementia
was a natural step. Running art activities taught me how to adapt, observe, be patient, and be grateful for bringing
smiles to people’s aging faces by engaging and challenging them, making their day special. This subconsciously
influenced my work, making it more fragile, challenging, and subtle by finding parallels with aging bodies and
minds and highlighting their beauty.
Could you tell us more about the ongoing community projects you are currently involved in, such as Grief
Letter and #thenatureofmemories? How do these projects aim to promote support and awareness around
grief and memories?
My studio work gently acquired a community focus a couple of years ago. These projects engage with the audience
in an inconspicuous way. A grief letter requests people to write a letter to the one they lost. Working through grief
requires discipline, and courage to face some uncomfortable triggers. This, in a way, is strangely healing and
promotes inner growth. While Grief Letter encourages the act of writing, #thenatureofmemories gives a prompt,
and asks an open question offering a mindful moment of reflection when interpreting: What is your earliest
memory? Do you remember the last time you really listened? Who was your first love? Do you remember your
childhood home?
My community projects encourage awkward discomfort, to go back in order to move forward, a way to establish a
new relationship with the one we lost, connect with your inner self, grow amidst the challenges presented by
modern chaos as any kind of loss, big or small, is a trauma.
Your solo show VANISHING POINT delved into the themes of loss, ageing, and the stigma of dementia.
What motivated you to explore these subjects, and what messages or emotions did you hope to convey
through the exhibition?
Firstly, it was my own response to life events and my own grief-processing journey. I find it hard to express my
feelings verbally and writing, making, and painting are less challenging for me. I used to paint abstract landscapes
but when my father died struggling with dementia, I went into my studio and all landscapes were wiped out from
my mental plane. I could only see darkness: fear of death, pain, decay, and lots of tears.
65
VANISHING POINT collection grew from this process. I was having a therapy session with my pieces. I was fighting
with my own fear of death, my anger, ignorance, and questioning spirituality. The show gave me closure and
showed others the real impact of dementia and how we, as a society, can be compassionate to those who suffer
from it.
Collaboration seems to be an integral part of your artistic practice. How do you approach collaboration
with other artists, and how does it enrich your creative process and the final outcome of your projects?
When I am stuck creatively, the best thing that helps is to look at other artists’ work or go to an art gallery.
Connecting with others, and hearing their stories and processes is a way to expand my value as an artist and a
human being. Collaborations are challenging though for someone like me, happily enjoying my own company. It
gives me an opportunity to work in a team as opposed to being a single player, staying flexible and positively
taking criticism. Other people’s views are insightful and can take me on a route completely different from the
original and this is exactly what makes the creative process so exciting. The main thing is to be open to all the
unknown that comes with collaborations.
Inventory, 2023
66
In addition to exhibiting your artwork, you also submit interviews and blog posts to creative and well-
being organizations. How do they contribute to your artistic mission?
My artistic mission is not only limited to creating but raising awareness about issues that are close to my heart.
This does include publications and blog posts where I can not only spread the word about what touches me but
also let my personality shine. I like learning about the artist and what drives them to interpret their work to the
fullest so letting the audience know a bit about me as a person contributes to my storytelling.
How do you navigate the balance between your personal and advocacy work?
These two paths are running parallel and they are bound by the making process. It can be studio work or desk
tasks planning a workshop, helping with website design, or fundraising events but finding a rhythm and staying
organized is important. I love variety and doing both definitely makes my life intensely full and meaningful.
Looking ahead, what are your aspirations for the future of your artistic career?
The future is bright with some occasional inevitable shadows, I am sure. I believe I am only at the starting point
and there is still so much to do, see and learn. I am looking to develop my Grief Letter Project into an exhibition
that features all the letters I collected so far from all around the world. The collaboration with my mother is
ongoing. Through photography and creating together we look at how grief re-shaped our relationship. I am also
working on a new onsite exhibition about the human/nature bond and exploring the topic of motherhood from
the angle of identity destruction. I am always looking for new collaborations, ideas, and feedback so please
connect if my story resonates.
67 Hidden message, 2023

Arefeh Nosrati
Arefeh Nosrati is a screenwriter, playwright, and photographer. She follows photography with an unreal meaning
and she's interested in the mini-male style, both in photos and in writing. She plans to continue this work so that
she can gain more experience and act more professionally.
Death
Where are you from and how does that affect
your work?
I was born in Iran and grew up and live in Tehran.
Attention to art in this country is low for people who
are just starting to work, and usually, they are not
given the conditions to present art in any field unless
there is a relationship that represents them.
Therefore, the way to reach the artistic destination is
very difficult and sometimes impossible. In this
situation, I try to continue my path regardless of the
problems, even if this path is taken outside of Iran
and the results.
My main artistic work is writing, especially in the
field of screenwriting and playwriting. But my
interest in music and playing the piano as well as
taking pictures started when I was a child. I took the What inspires you?
photos I submitted for the contest when I was In my opinion, a photographer can photograph with
seventeen, but because I didn’t have an attachment to any wisdom he has, and you understand his vision
submit, they remained unpublished. Now I am happy and belief in one frame. I am very interested in the
that it was noticed after many years and I was able to minimal style, both in writing and in photography,
have more confidence in myself to think about and this has made me see the concept of simplicity and
continuing this activity. the existence of simple components. And I believe that
a photographer, at the moment of seeing a frame,
reviews a story in his mind, hoping that the audience
will achieve the same image and belief. But the
audience is free to see whatever they feel. This is also
the opposite in screenwriting, writing words in the
form of images.
From your point of view, what makes a good
picture?
In my opinion, if we pay attention to the world around
us and this attention is accompanied by motivation
and symbols, it will lead to taking better photos.
Therefore, every photo should have a concept and
intention.
What is the biggest challenge for you?
My biggest challenge as a budding photographer is to
get more hands-on and I feel like I need to hear
criticism to get better
Broken 69 Spicy
Every artist is influenced by the works of other artists, but I do not follow imitation, so I follow my own point of
view and modify my works. And I think the experience of seeing the world around us correctly will improve our
vision.
work?
I try to express the concepts that I intend to explain in the form of a simple picture. From nature to our modern
world, it is full of inspiration. And I think you can take these photos with any tool, but a camera will meet your
needs better.
I like to put my works in the form of a collection. For example, a collection with the theme of nature. A collection
with the theme of the season of death. Another collection is about the concerns of the surrounding environment
or the world from the perspective of children to adults and the elderly. And this makes us bring all the views
together. We can tell different stories with photography.
Hidden Love
Lewis
Andrews
Lewis Andrews is a Fine Artist based in Leeds, United Kingdom. His work specializes in dealing with
complex thoughts, ideas, and facts within nature and science. Some explore those in which we seem to
be overshadowed and overpowered in comparison by the vast distances, size, or quantities. Others
investigate moments of extreme power, creation, and rebirth on a molecular scale or on a scale
comparable to that of the universe. Questioning our relationships, place, and role within the universe,
environment, and natural spaces.
Lewis Andrews moved to Leeds in 2016 to study a BA(Hons) in Fine Art at Leeds Arts University
graduating in July 2019. In 2022, Lewis completed his Postgraduate Fine Arts Degree also at Leeds Arts
University, graduating with a Masters in the Creative Arts. Lewis has participated in exhibitions up and
down the country and internationally. In November 2020, Lewis was selected to participate in the Mayes
Creative Watching the Sun: Virtual Residency alongside other artists with an interest in astronomy and
ancient astrology. Lewis went on to participate in two more virtual arts-science residences with Mayes
Creative and hard work from the residency included in a publication published and included within the
Royal Astronomy Society Archive.
The ‘Wanderer’ series of photographs (first created due to Lewis’s time on the ‘Ancient Materials’ arts-
science residency) attempts to visualize the ancient asteroids and comets of our early solar system. This
brought to mind a chapter from ‘Origins; Fourteen Billion Years of Cosmic Evolution’ by Neil deGrasse
Tyson & Donald Goldsmith. In this chapter, the possibilities of how the early asteroids of our solar
system brought new elements and molecules (including water molecules in the form of ice) to early
Earth are explored and may have a role to play in the kick-start of life on our planet. It is theorized that
dust grains and small rocks floating within this cosmos act as a perfect surface for atoms to collect upon
and interact. ‘Wanderer’ attempts to visualize those early travelers of the cosmos while simultaneously
touching upon our connection through materials and atomic elements to the heavens. Through the use
of found rocks on the surfaces which we walk up and down going about our everyday lives, the work
concurrently connects ourselves and Earth to those ancient times as well as serves as a reminder that we
are still deeply connected to the life cycles of the cosmos.
71
How did your interest in exploring complex
thoughts, ideas, and facts within nature and science
develop? What initially drew you to this subject
matter?
I always had an interest in the natural world. Initially,
my very early works were simple depictions of nature
when I began to think towards the end of the first year of
my bachelor's ‘Well why is that (whatever I was
interested in at the time) the way it is?’ This change in
my way of thinking opened up countless possibilities for
my work and as a result, I began to employ more
scientific information and then deliver that through the
work.
Can you elaborate on the specific aspects of nature
and science that inspire your artwork?
Most of my work mainly focuses on the life cycles of the
cosmos, however, it has also focused on subject matter
like the Immune System and Cellular Respiration. About
four years ago now, I began to, as well as communicate
scientific information, weave into my work stimulants
and prompts which could in turn generate emotions
relating to the sublime within my work. Mostly focusing
on the mathematical sublime, theorized by Immanuel
Kant, where a number within nature becomes so large
that it seems almost infinite.
In your exploration of extreme power, creation, and
rebirth on molecular or universal scales, what
artistic techniques or mediums do you find most
effective in capturing these concepts?
Currently, my work acts as a conduit between art and
science. My practice revolves around this need to
generate an ‘Informative Encounter’ between the work
and viewer where scientific information is translated
into visual form to open up conversations amongst
viewers or prompt further research. The theory and
implementation of an ‘Informative Encounter’ is a
method of practice that I first noticed within my work
from my recent Masters degree at Leeds Arts University.
Wanderers I, II & III 72

How does your artwork prompt viewers to question
their relationships, place, and role within the
universe, environment, and natural spaces?
Generally, the work wants you to look at your
surroundings and yourselves through a fresh approach.
One example of this would be my ‘Cosmos’ drawings
which utilized Carbon in the form of Indian Ink. Carbon
as an element is essential for all life on our planet and
can also be traced back to the cores of supergiant stars
before they died. Therefore, these drawings become a
bridge between yourselves, the life around you, the
supernovas of ancient stars when Carbon was released
into cosmos billions of years ago.
Could you share more about your educational
background and how it has influenced your artistic
development? How did your studies at Leeds Arts
University shape your artistic practice?
This can be answered in two parts. My Bachalors degree
established the direction I should take my natural
interests in nature, which is when the scientific
information started to be incorporated with my work
and delving deeper into the complexities rather than
appearance alone. The Master’s degree established how
it should be communicated through the work via an
‘Informative Encounter’ mentioned previously and a
conceptual-driven practice. The latter is being built upon
consistently at present within my work with a wealth of
science still to explore.
Can you tell us about your experience participating
in exhibitions both nationally and internationally?
Generally, of them I have gained some sort of learning
experience ranging from don’t use that type of frame to
maybe the whole work needing to change. Some are
more personal milestones like my first international
group show ‘Sonora’ in Sao Paulo, Brazil in 2021. The
most recent standout would be Ones To Watch 2023 at
Sunny Bank Mills Gallery Farsley, Leeds as this is the
second time I was selected for this very well-known
yearly rolling exhibition of West Yorkshire after also
being included in the 2021 edition of the exhibition.
Wanderer V & VI 73
The Mayes Creative Watching the Sun: Virtual
Residency and subsequent virtual arts-science
residences played a role in your artistic career. How
did these experiences impact your creative process
and the development of your work?
I had a great partnership with Mayes Creative and
participated in three of their residencies; ‘Watching the
Sun’, ‘Starlight’ & ‘Ancient Materials’. The first two
offered new directions to take my practice and to bounce
ideas between artists exploring similar subject matter
stimulating collaborations. The latter, ‘Ancient
Materials’ played a pivotal role in my Masters thesis
where several artists opened dialogues with me about
working with science in art and answering questions I
had put to them which became crucial in trying to
understand the early stages of what would evolve into
my theories on the ‘Informative Encounter’.
Being included in a publication and the Royal
Astronomy Society Archive is a notable
achievement. How did it feel to have your work
recognized and preserved in this way?
It truly is an honor and I’m incredibly thankful for the
opportunity. On a more personal level, the news of it
came when life was getting quite tough and encouraged
me to continue working.
Are there any specific artists, scientists, or thinkers
who have influenced your artistic approach and
concepts? How have their ideas shaped your work?
Many, I could easily go over the word count here. The
pivotal artists that shaped my practice would be Antony
Gormley’s drawing works and Katie Paterson’s
conceptual approach but their ideas resonated so much
with my work. Science and an endless list of Scientific
thinkers are a huge influence on my work of course.
With science endeavors evolving and becoming more
complex all the time, so too does my work evolve and
attempt to translate complex ideas.
Wanderer XV & XXIII 74

Wanderer XX
Looking ahead, what future projects or artistic endeavors are you excited about? Are there any new directions or
themes you're interested in exploring in your artwork?
Currently, I’m finishing a body of work under the label of ‘Scientia’ where I’m utilizing approaches and
methodologies in an attempt to stimulate the ‘Informative Encounter’. This approach requires reading scientific
material from a carefully selected collection of books and translating those ideas into either an artwork or a series
of works each month. However, beyond the completion of this project, I can see my work taking a storytelling
approach with some process within the natural; for example Immune Response to an Influenza Infection and The
Birth of Black Holes.
75
Darina
Kharaman
Darina Kharaman, born on October 29th, 1999, in Mariupol, Donetsk region, Ukraine, is an accomplished
art curator and contemporary artist. With a range of skills and experiences, she excels in
conceptualizing projects, bringing them to life, and organizing events that showcase artistic endeavors.
Alongside her curatorial work, Darina also possesses a passion for photography and actively participates
in exhibitions and art biennales. Furthermore, she finds joy in writing articles and exploring her artistic
expression through drawing. Darina's diverse talents and dedication to the art world contribute to her
thriving career and artistic endeavors.
"In an intertwining of personalities"
The series of photographs entitled «In an intertwining of personalities» explores the concept of emotions
and personality through the use of curves. The curves symbolize the internal state of an individual,
ranging from joy to indifference, as well as the formation and evolution of one's personality. As a
photographer with a keen sense of nature, I aim to capture these abstract concepts through the lens,
showcasing the journey from the formation of personality to the baptism of feelings, a deep study has
arisen that explores the transmission of sensations and perception through the prism of natural forms
and phenomena. This includes the curvature of bodies, volumes, and the interaction of light and shadow
through nature. The project delves into the depths of human personality and endeavors to capture its
essence. It contemplates the intricate interplay between our senses and the world around us, seeking to
convey the intricate tapestry of emotions, experiences, and unique qualities that define an individual.
The bends and curves of forms symbolize the organic nature of our existence, reflecting the fluidity and
dynamic aspects of human personality. They evoke a sense of movement and transformation, reminding
us that personality is not stagnant but constantly evolving.''
76
Can you tell us more about your background and observe it. After all, the main thing is to find people
upbringing in Mariupol, Ukraine? How did your who can reveal the essence of the subject and transmit
surroundings influence your passion for art and the emotions embedded in the concept through their
creativity? creativity.
My passion for art originated in childhood. Education Can you describe your preferred style or subjects
in art school, photo art courses, and my first when capturing images?
participation in exhibitions, competitions, and awards Photography, for me, is a way of communicating with
all started in the city of Mariupol. Thanks to the the outside world. I am inspired by nature, plants,
teachers and the belief that I would succeed. textures, and shapes. In my perception, after death,
As both an art curator and a contemporary artist, people physically become a part of nature and sprout
how do you balance these two roles? How do they in it, remaining as dreams. Everything around us is a
complement each other in your artistic practice? trace of departed souls.
On the one hand, it is difficult to be torn between a What are some of the most memorable
stream of ideas that come from different sides, but exhibitions or art biennales you have participated
thanks to it, there is a possibility to think abstractly. I in?
study different curatorial programs to understand The most important exhibition for me was the
how they work both as a curator and as a participant. "International Project - Italian-Ukrainian Exhibition:
Through this experience, I have had the opportunity Vision of Dante. Contemporary Ukrainian Artists
to push my creative boundaries. Interpret the Divine Comedy," organized by Professor
Could you share some insights into your process Giorgio Grasso in Kyiv in 2022. It was opened on
of conceptualizing and implementing art February 15, nine days before the beginning of the
projects? What factors or inspirations guide your war in Ukraine. I will remember this exhibition for
creative decision-making? the rest of my life.
Often ideas arise in my head, or I dream about them. Writing articles is another aspect of your artistic
Images, lines, and plots come to mind, and once the practice. What topics or themes do you typically
work starts, the details are already drawn. Every explore in your writing?
night, I keep a notebook beside me in case an idea Articles have a more research-oriented character. For
comes up and needs to be written down urgently. I example, the article "Tattooing as Visual and Aesthetic
have a lot of plans, and I set priorities based on my Creativity of Youth" discusses how the act of tattooing
own views and desires because the main thing is not has become an integral part of current mass culture.
to betray myself. The art of tattooing carries a naturalistic meaning.
How do you approach organizing events related to Drawing is mentioned as one of your interests.
art? What are some key considerations you take How does drawing contribute to your creative
into account to ensure a successful and engaging process?
experience for participants? Drawing, for me, is another element of
First of all, it is the idea that everything starts with. communication. I disconnect from the outside world
The concept of the project should be interesting when I draw. I would call it a kind of meditation, a
enough to engage a person, making them want to conversation with myself. My works have taken part
participate in the project themselves while others in different exhibitions and projects.
79
Can you share an example of a project or event that you organized or curated?
The international photo exhibition "At the Line of Human Capabilities" was initially
planned as an offline exhibition project at the Kharkiv State Academy of Design and
Arts, in the Loft art space in Ukraine. Due to the situation in our country and the
introduction of martial law, the project was at risk. It was decided to move the
exhibition project to an online format and create a virtual photo exhibition. The
virtual photo exhibition was a good solution to the space problem, as it could be
viewed from the comfort of your home or while away, as long as you had access to the
Internet.
Looking forward, what are some goals or aspirations you have for your artistic career?
I currently have enough goals and aspirations. The main thing is to find the time to realize them. My plans now
include developing a small book called "The Story of Lonely Bill," which explores the challenges of life and the
transformation of perspectives on the world. Additionally, I am committed to realizing new creative art projects
and furthering my artistic journey.
80
Lea Hope Bonzer
Lea Hope Bonzer was born and raised in Zagreb, Croatia. She started getting into photography in her late
teens. When life took her on the journey at the age of 24 she found life in the USA where she established
her business. She is a photography artist as well as a portrait photographer. Lea loves creating art in all
styles as her photography is capturing a feeling, not just a snap in front of the camera. Lea Hope Bonzer's
ultimate goal is to bring motivation and inspiration through art to uplift and connect everyone, on a
mission to bring art that creates a powerful and unique environment and enhances the ambiance.
Can you share more about your journey into photography and how it became a significant part of your
life?
I start using a camera for fun in my teens. In my early twenties, when people start seeing what I create through
photography I learned that I see things distinctly, photography start to transition from a hobby to my journey of
becoming an artist. Photographing details in the surroundings by which most walk by without noticing is
therapeutic to me. It helps me appreciate life on different levels.
How has your upbringing in Zagreb, Croatia, influenced your artistic vision and approach to
photography?
Growing up in Croatia, then part of Yugoslavia, I wanted to be a soccer player and an astronaut. When I was ten
years old, the war started. Like any other war, it has destroyed a country, and its economy, and the government
became even more corrupt. Opportunities were slim. Unhappiness among people grew. Photography was my
escape from reality. Finding something to look for.
What inspired you to establish your business and pursue a career as both a photography artist and a
portrait photographer?
Using a camera to escape reality guided me to pursue my dream of becoming an artist, showing the world beauty
in small details, and motivation in simplicity. Becoming a mom, and people start noticing my portraits, I pivoted to
become a portrait photographer. Even tho I love creating art with no people in the picture. I also truly love
creating memories for people that choose me as their portrait photographer. It is amazing to see my client's
families throughout life. Being able to capture baby pictures and compare them to their senior portraits and be
present to capture weddings of the same individuals; is a huge honor.
You mentioned that your photography captures a feeling rather than just a moment. How do you convey
emotions and create a deeper connection through your photographs?
Actually, I meant capturing the feeling from and through the moments rather than just a snap of what is in front
of me. Different angles and how close or wide the subject is captured have a tremendous impact on what kind of
emotion is represented. Mainly, I love close-ups and the uniqueness of the subject, and sometimes I like to capture
the widest angle possible. Showcasing details brings quite a powerful visual exposition.
83
As an artist, what themes or subjects do you often explore in your work? Are there any particular styles
or techniques you enjoy experimenting with?
Everything that catches my attention and creates an emotion roaming. I am more drawn to details. Something one
of a kind. While my mom was dying from cancer and unable to go outside, I started photographing flowers. My
mom's favorite part of nature. I wanted to bring them to her. Being an entire continent away, the only way to
deliver was in digital form. I wanted for her to see what she is no longer able to experience and have a piece of me
within it. Flowers become my connections to her even after her passing. Flowers seem to be very popular among
the general audience as well being the majority of my dangling earring line Rêver (French for dream). I also love
capturing clouds before and after the storm. Clouds captivate my soul with incredible formations of something so
simple yet mesmerizing. I also love capturing rustic. It creates wonder of untold stories forgotten in time.
Your goal is to bring motivation and inspiration through art. How do you achieve this through your
photography, and what impact do you hope to have on viewers?
Hmm, to explain emotion with words? For me, it is capturing the uniqueness of the subject. The way light comes in
or not at all, the color of it or simply black and white. Details are where it is all at, the small things. With the final
product, I create art that creates emotions that motivates and inspires. On the mission to help embrace changes.
84
Could you share a specific project or artwork that you feel exemplifies your mission to create a powerful
and unique environment through art? What was the concept behind it, and what response did it evoke
from the audience?
My favorite project so far is for a local dental office, where we incorporated their dinosaur team with my art. The
space is created for children coming to an unpleasant office visit to walk into the land of dinosaurs. Each room is
wrapped up from mural to ceiling tiles with individual teams. We have dinosaurs hiding in forests and among
trees, where kids search for them throughout the room. We have them flying, even having a party at the beach. It’s
incredible to get responses from their clients loving how enchanting the visit is.
In your opinion, how does art contribute to enhancing the ambiance of a space? How do you approach
integrating your photography into different environments and settings?
I strive to recreate the atmosphere of interiors where art creates energized ambiance and brings positivity to
surroundings. Not just a piece that fits with size and color but it's the first thing people notice. Part of interiors
where emotions are so strong occupants enjoy staying within, feeling motivated and relaxed. Art that strikes
feeling at a different, deeper level.
What challenges do you encounter as a photography artist and portrait photographer? How do you
navigate those challenges and continue to evolve and grow in your craft?
The majority of the challenges are in the huge number of people owning a camera. Some call themself
photographers, but their actual expertise is in editing programs. We live in a world where fake, over-edited, and
magazine style is what determines decisions over capturing the true natural state in flattering ways. I use editing
to give a little uplift to images.
How do I navigate those challenges?
By continue being me, and keep going, my art finds the right people.
Looking ahead, what are your aspirations and goals as an artist and photographer? Are there any
upcoming projects or collaborations that you are particularly excited about?
I would love to partner up with a Hotel chain and be able to recreate surrounding for travelers by bringing
ultimate inspiration to them.
I am also about to start quite an interesting project where I'll incorporate my art and portrait photography. I am
very excited about it, but that would be all for me for now.
85
86
Black & White Photography | Special Edition | VOL 26 | June 2023 | Tbilisi, Georgia
87

Black &amp; White Photography

Uploaded by

Copyright:

You might also like

Black &amp; White Photography

Uploaded by

Document Information

Copyright

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Black &amp; White Photography

Uploaded by

Copyright:

COLLECT

white photography, it feels like a

Buenos Aires, Argentina, 2002

Lanjoran, Spain, 1995

the subject’s experiences and perspective. With this

Orgiva, Spain, 1995

Like Water Lost

But I know I will continue again.

Former First Lady of Georgia Maka Chichua

4th President of Georgia Giorgi Margvelashvili

Who influenced you the most? Is there any other

Play on the bridge, Anaklia, Georgia

Adi's photographic style encompasses

''I never met my paternal grandfather. He

27 Lake District view, 2021

Monte Carlo View, 2016

29 Rooftops - St Gilles - France, 2016

Positano View, 2022

the history of a building and its overall atmosphere.

What is the biggest challenge of

Suspended in the mist 32

themes into your work, and what message or

the life And suddenly a tree

In addition to his exploration of nature

All photographs were created with a 35mm analog camera.

50 At the airport, 2021

Emma Brink Laursen, born in 1997 in Esbjerg, Denmark, is a talented

''The embodiment of place is a theme that I come to again and again in my

67 Hidden message, 2023

Wanderers I, II & III 72

Wanderer XV & XXIII 74

"In an intertwining of personalities"

You might also like

Black & White Photography

Black & White Photography

Black & White Photography