Beyond The Ordinary & Updated Landscape, off the map by Guillaume Hebert


Beyond The Ordinary & Updated Landscape


These series are a hybrid genre that combine pieces of modern landscapes with, in the background, landscapes that come from old and famous paintings. The name of this series is a notion that tells us about the changes created by urbanisation in our modern societies. These works invite us to compare the vision of an ancient painter with the vision of a modern photographer, in order to remodel our perception of the environment in an aesthetic dimension.

Guillaume Hebert, also called Guillelmus Paulus Julianus, is a French visual artist more focus on photography born in 1969 in Normandy. He graduated from the School of Fine Arts in Caen (DNSEP : National Superior Diploma of Plastic Arts). He started truly photography in Taiwan in the year 2012. He stays there for 6 years and goes regularly to mainland China. He currently collaborates with a Shanghai Gallery: M Art Center and participates in many festivals and art fair. After his pilgrimage he returned to Europe and settled in Berlin for one year. Back in France, he currently lives and works in the Papal city, Avignon.


brasilia, off the map by Cyrille Weiner




Arriving in Brasilia is a strange feeling: an illusionary city that would reveal itself very slowly. From afar, the landscape is flat. Then, above the emptiness, a vibrant shape appears in the bright sun, like a giant model growing up from the ground. The vision speeding faster as the city progressively appears. Unbelievable.

Brasilia is the capital of a vast country. But it is not a city. It is the drawing of a city, a cross in the middle of the desert. An act of possessing a territory, perfectly and globaly achieved from scratch by architect Oscar Niemeyer and urbanist Lucio Costa, under the impulse of president Joscelino Kubitschek.

I came to see a city. I discovered an infinite garden. A wasteland. A suspended space that stretches out of human dimension.
I walked for hours. Off the map and its limits in an urban space that has not yet been conceived for a walker. I met a few men, as my own reflection in a mirror. They walked to the rodoviaria – the main bus station – at the crossing of the two wings of the Plano Piloto.

The public space in Brasilia is the whole territory. Cities’ grounds are covered with ashalt. In Brasilia, despite the sophisticated urban shaping. the red earth does not disappear.

Time is suspended. Life seems to have stopped the shining day of April 21st 1960 : the inauguration day of its new capital, built ex nihilo. Strange scenes of parades of workers, soldiers and officials, between scattered brand new futuristic buidings, like an oversized movie set. A utopia that became real in a thousand days.
Perpetual comeback, perpetual availability for the future.
I came to Brasilia with the feeling of coming back. I left it asking myself if Brasilia exists. It seems to. Not as a myth or a symbol of the modernist utopia, but an available open playground for all the improvisations of all of us.
The real monumentality of Brasilia is its emptiness.

Photographer born in 1976 and trained at the Ecole nationale supérieure Louis Lumière. His work has been published by numerous international magazines (M Le Monde, Foam, British Journal of Photography, foam, Art Press…) and exhibited at MAC Lyon, at the Rencontres d’Arles, the laurent mueller gallery in Paris and at the Villa Noailles in Hyères. He was the laureate of the Prix Lucien Hervé and Rudolf Hervé in 2012 and the author of Presque île (2009) and Twice (2015). Cyrille Weiner recurrently poses the question of space, and how individuals appropriate themselves to their living spaces, distanced from directives coming from “on high.” Progressively leaving the documentary register, he proposes a universe crossed by fiction, that he establishes with exhibitions, editorial projects and installations.


Picture of Health by Andy Feltham




“The NHS will last as long as there are folk left with the faith to fight for it”.

Aneurin Bevan, the Health Minister who created the NHS 

Since its inception in 1948, the National Health Service has been the prized jewel in Britains welfare crown. As mortality rates decrease year-on-year, the demand for cutting-edge therapies, and their associated tariffs, continues to rise. A victim of its own success, the NHS faces its biggest fight to date.

Picture of Health is my take on a small corner of the NHS today. Shot over two years, starting in February 2016, I was granted access to all areas across Northampton General Hospital, a mid-sized district general hospital in Northamptonshire, UK.

In part I wanted to explore the unseen recesses of the hospital, hinting at the hidden complexities inherent within the delivery of care. Further, I hoped to highlight chronic underfunding across the NHS, which has meant that the provision of safe care to the populace of Northamptonshire has become increasingly difficult. Despite - or perhaps because of - this, it was also the aim of this project to celebrate the hard work and commitment shown by staff at Northampton General Hospital in providing the Best Possible Care to their patients on a daily basis.

Andy Feltham is a self-taught photographer who lives in Northampton, UK, who also works part-time within the healthcare setting at his local hospital. He has been exhibited in the UK, USA and Italy and featured in numerous publications, both online and in print. He has also been commissioned to work in the commercial as well as the fine art setting.

Feltham seeks to create a tension within each photograph by using meticulous framing, exposure and technique to detach the subject from its surroundings. This lends a subtle disquiet to the underlying themes of beauty, mortality and humour that hallmark his work.


To Name A Mountain by Alfonso Almendros




In the spring of 1863, the landscape-painter Albert Bierstadt, started his second tour across the Rocky Mountains with his friend the American writer Fitz Hugh Ludlow.

The story says that during their expedition, the painter was astonished by the view of an enormous mountain. Immediately he made a sketch where a dark grey storm crosses an imaginary horizon of gigantic peaks blown out of proportion. Bierstadt entitled his painting “A storm in the Rocky Mountains, Mount Rosalie” in honor of his traveling companion’s wife. The work was interpreted as a representation of his emotional anguish and the mountain, unnamed until that date, was named Mount Rosalie in honor of the woman that Bierstadt secretly loved.

Most critics thought Mount Rosalie was impossibly high. The painting and Bierstadt’s work seem to talk about desire, but always through the excess and the violation of a reality that only seemed suggestive for the artist when it was conducted by his imagination. His idea of beauty oscillated between the sublime exaltation of his emotions and the calculated effectiveness of the forms. Both contradictory notions though, is it not an audacity and a frustration at the same time to try to reach a summit? Nevertheless, the purpose of naming a mountain is an act charged of poetry. It tells us about the desire of possession and permanence. It reminds us, through creation, of the memory of those we have loved.

Alfonso Almendros is a Spanish photographer and lecturer living in Madrid. He graduated in 2010 with a Bachelor in History of Art from the University of Valencia, an Associate Degree in Artistic Photography from E.A.S.D Valencia and a MA Photography in Efti Madrid.

His work has been exhibited internationally, including exhibitions in Encontros da Imagem in Braga, Sala Kursala from the University of Cádiz, the Cultural Center of Spain in Mexico, the King Juan Carlos I Center of New York, Article Gallery in Birmingham or Guernsey Photography Festival and granted in several international competitions like the V Galician Prize of Contemporary Photography, the Roberto Villagraz Grant 2016, the Photographic Museum of Humanity 2014 grant or the Grand Prix Fotofestiwal 2011.

Since 2015, he is a visiting professor at the Instituto Nicaragüense de Enseñanza Audiovisual and the National Cinematheque of Nicaragua, Node Center of Curatorial Studies in Berlin and the IED Madrid.


Under Construction




Growing up in Dubai, my parents would take my siblings and I to the UK over the summer holidays. Arriving back to the UAE after five or six weeks away, we’d look out of the window of the car on the way home from the airport and point out all of the things that had changed in the time we’d been gone; a new skyscraper would’ve started construction on what used to be an empty sand lot, or a complex of villas had been flattened to make way for a hotel, or what used to be small roundabout was now on it’s way to becoming a spaghetti junction.

We’d play football in Safa Park – a huge green space with fair ground rides, ice cream stands and cafes. Then two years ago, they dug a canal right through the middle of it, bulldozing half of the park and circling a section of downtown Dubai to turn it into an island. The city changed so quickly, and it wasn’t sentimental about what it got rid of. And this is what Dubai has become known for; these construction projects are what you see on travel brochures and TV shows around the world.

They’ve had to keep up this rate of construction to mirror the city’s transient, expanding population. But because of it, residents live amongst an unusual landscape – a pattern of urban decay means that the peripheries of the city resemble a graveyard of half-funded construction projects. And in the city centres, land is constantly re-purposed for new construction ventures, meaning that the face of the city changes almost literally over night.

Shot over two years on whichever camera I had on me, this project is about the half-built spaces, and looks at how Dubai’s residents live amongst them.



I'm Here With You




The majority of LGBTQ people in South Korea hide their true identities from their colleagues, friends and their families. Despite a recent surge in LGBTQ activism, Korea remains a very conservative country and those who come out face being disowned by family or dismissed from their employers. Many Koreans still express bitter hostility toward LGBTQ people, while others simply deny their existence. The Korean military actively hunts down gay soldiers, going so far as to mount sting operations using gay dating apps. And when someone does come out, parents and family members often choose to ignore the truth.

This project literally and metaphorically represents sexual minorities living in Korea who are forced to hide their sexual identity. The LGBTQ individuals photographed—all facing away from the camera—remind us of how Korean society continues to neglect and refuse to accept them. By creating these images, my intent is to both implicate the viewer in the nation’s larger refusal to acknowledge the identity of LGBTQ individuals and, more importantly, to spur us all to take action and change this attitude once and for all.


Gowun Lee (b. 1984) is a visual artist who utilizes photography. She explores themes of a social issue such as LGBTQ in South Korea and human relationship in conceptual ways. She moved to South Korea from New York for her ongoing project.

She received BFA in Photography from the School of Visual Arts. She has been shortlisted for Tokyo International Photo Competition, ZEISS Photography Award 2018, 2018 Aperture Summer Open: The Way We Live Now.

Her images have been featured in Open Society Foundations, The Guardian, CNN Style, Bubblegumclub, Aperture Foundation, Korean daily, Monthly photo, ZEISS LensPire, and World Photography Organization.

Her work has been included in exhibitions at the United Photo Industries Gallery in New York, Onfoto Gallery in Taiwan, SVA Chelsea Gallery in New York, Tak Gallery in Seoul, MayFlay in Seoul, Wonder Fotoday in Taiwan, Head On Photo Festival in Australia , Somerset house in London and Upcoming exhibition T3 Photo Festival in Tokyo.



The Rage Of Devotion: Liza Ambrossio



Some time ago I decided to change my life in the most extraordinary way possible. I looked in and without intending it I remembered the phrase with which my mother said goodbye the last time I saw her at sixteen years old – “I wish you well, and believe me I hope you´ll become strong and brave, so you can be merciless when the time comes to destroy your body and crush your soul the next time we see each other”- After an overwhelming emotional breakdown, I started this series of images intermingling with pictorial canvases and photographs of my family archive to impel the observer to immerse themselves in my psychology. 

I stumble, but in the same way freeing myself, finding their lascivious looks, my fear of touch and the instinctive repulsion that represents for me the concept of “family”. In “The rage of devotion” I discover that although I look, I don´t want to see, because what lives inside me, looks and it is completely monstrous.

Liza Ambrossio


Liza Ambrossio is an young Mexican artist based in Madrid, Spain. Her body of work combines photographs of macabre archive with cryptic paintings, performance, intervention, installations, videos, psychology, lucid nightmares, science fiction, ero-guro and witchcraft that come together in free association.

Wen she was sixteen years old she asked for one of the house keepers of her mother's house to steal photographs of the family albums while Liza self-portraying herself looking for ways to survive away from her family's own decision, while compiling chilling early-morning scenes in Mexico City, her mental and real travels from her adolescence to her adulthood. In her project The rage of devotion-La ira de la devoción, the feminine is threatening because it seduces and in the poetics of its seduction devours. Project awarded with the Discoveries scholarship of Photo España-La Fabrica, the scholarship portfolio review for FotoFest 2018 in Houston, she was selected to participate for New Visions 2018 in the Cortona On the Move Festival, Italy, she received the first honorific mention for the Emerging Prize within the Encontros Da Imagens festival-2018, Portugal and the first prize in the Voies Off Award 2018 in Les Rencontres de la Photographie, Arles, France. Resulting in a photo book co-edited by Desiertas Ediciones and La Fabrica.

For her latest project  Blood Orange-Naranja de Sangre, Liza paints with three colors: orange, red and yellow the psychology of uprooting, madness, love and loneliness as an affront to terror and dehumanization because she believes that human passion is in itself a act of challenge. Series awarded with the FNAC New Talent Award, 2018, the 6th. Edition of the (TAI) Photography Talent Grant, Liza is currently selected for the contest Full Contact in Tarragona, Spain and she was winner of the Babel Gallery Award (Brazil) in the first Contest of Contemporary Photography of Latin America in Monterrey, Mexico and the DOCfield Dummy Award Fundación Banc Sabadell 2018 in Barcelona, Spain. She has recently been nominated for the Plat(t)form prize of Winterthur Fotomuseum in Switzerland 2019 and she has been invited to exhibit at the FORMAT19 festival in the UK;  Liza has been granted with scholarships for production residencies in Iceland, the United States and Luxembourg 2017-2018.



Diary: Exile



I need to stop wearing masks, lay down myself as I am. Unlabeled, raw and naked. Accept or move on, nothing to lose here, I have already been lonely, I have already been bruised.


Abdo was born in 1982 in Oran, Algeria to a Sudanese father and an Algerian mother. Abdo studied Telecommunications Engineering at the University at of Sirte, Lybia until 2006. In 2012, he undertook an Internship at Magnum Photos Paris, which gave him the opportunity to reflect on his photographic approach and make his first story for the magazine “Rukh“, His photographs have been published by a number of printed and online magazines as well as by newspapers. In 2015 he received a nomination for Magnum Foundation Emergency Fund and in 2016 his series ‘Diary: Exile’ was selected by the Addis Fotofest, the same series was shortlisted for The CAP Prize 2017. In 2018 he receives the ADPP grant from AFAC and Magnum foundation for his ongoing project ‘Dy’.



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Dinis Santos completed his bachelor's degree in Painting at the Faculdade de Belas Artes da Universidade do Porto in 2007, and in 2012 he completed his master's degree in Contemporary Philosophy at the Universidade do Porto. He has developed his activity in photography and video since 2007. 


These images come from the way I work at my "digital lab”. During the processing of the “raw” files, from my digital camera, I’m always zooming the image to 100% at fullscreen to analyze the contrast, detail, texture… by doing this, a lot of times, I was surprised by the image that I would find. The computer screen -16x9 - does a frame on my picture and shows me a new image. I became fan of this moment of chance and I begun to be more conscious about it. Now every time I’m processing images I pay attention to the details and I use my screen as a viewfinder, when I find something that interests me I do a “print screen”. Even when I’m taking pictures sometimes I’m thinking about the re-framing that I’ll be able to do. These images, that I am showing you, are a small group of pictures that were born this way. Pictures that came from other images from different contexts and works - from my personal work or from my comercial work. These are frames that I find during my work as a photographer. The frame, 16x9, it’s the ratio of the present days. I like this idea and I like to be guided by the means of production and to explore them. It’s my screen that chooses my frame. Being aware of the technology and their processes it’s a way of looking the world.

Editor´s note

The presented project was selected from a spontaneous submission made by Dinis Santos. Our aim is to disseminate and bring to light telling work of emergent or young photographers.






Maria Begasse was born in Oporto in 1982. From early on she showed interest in the area of communication, having started her studies in a vocational school, in graphic arts. At university she embarked on a more dynamic field of comunication, in the area of audiovisuals, having complemented her studies with a master's degree in photography, in London. Since 2012 she has been a freelancer in photography focusing her eye mainly in architecture and interior photography and on live music photography. In addition to her commercial work, she produces conceptual work that balances between the abstract and the concrete. She has exhibited collectively and individually, both in England and Portugal. Won the Audience Award in the Black and White 2015 Festival, with the We’ve been fighting over rotten potatoes work.


'We've been fighting over rotten potatoes' is a series of 11 pictures that at first sight recreate images of war, supported by the drama of black and white and the contrast of light/shadow, but actually they are referring to the manipulation and creation of illusion.

These images have as reference iconic photographs of the 20th century (for example, Joe Rosenthal’s picture - Raising the flag on Iwo Jima, 1945, WWII) that even today maintains a universality and timelessness that raises disturbing questions about human behavior, since the beginning of humanity until nowadays — the current crisis of values deeply interconnected with the financial crisis and with the European policies of austerity. This work is from 2013, a dramatic year in the Portuguese society and other European partners, in that human values are beginning to be strongly sidelined in favour of the exploitation of numbers.

Focusing on the interaction of little toy soldiers of make-believe games in a field of dirt in that old potatoes simulate hills and trees ravaged by fire, this series of images result in a game of light/shadow and perspective, which deludes the eye by mimicking a real battle field.

In the production of the photographed scenarios lies the key to the illusion that the title itself refers to — what seems important, inevitable, the only possible reality, has behind it other orchestrated motivations.

editor's note

Our aim is to disseminate and bring to light the work of emerging or young photographers.






Martin Brink (b. 1984) is a Swedish photographer and artist. He is equally excited by internet and screen output as by the physical print medium, which has lead him to make several of his projects available as pdfs and ebooks, create animations (initially just sent out in email newsletters), and to found the blog The Digital Photobook.


The “Walks” photos are not about the path, although it might be visible.
Instead, the photos are a method of discovery, of getting out, keeping focus, staying productive and alert. I see the photos as documentations, not of places, but of the brief selected moments when I stop and see that a composition has formed in front of me.

editor's note

Our aim is to disseminate and bring to light telling work of emergent or young photographers.






Franky Verdickt was born in Belgium in 1971. In 2007 he completed his masters from Luca School of Arts in Belgium with the project ‘Fantasma’. His personal works has been exhibited and awarded worldwide, in 2015 he won the Lensculture Exposure Award and was nominated for the Moscow International Foto Award (MIFA) for his series ‘The South Street Village’. In 2015 he published his second book ‘Nobody likes to be hindered by worldly troubles’. Franky Verdickt currently lives and works in Brussels.


As most Europeans, I live in an place where everything which surrounds me has history. More and more I saw the emerging of places which looked the same. First, by asked myself the question how it is to create a place from nothing, creating a place with no precedent history, how is it possible to induce identity, as the place where we live derives greatly our identity. Secondly, we live in a world with an increasing world population where the need of new living places is evident and crucial. So, building these new places it creates economy and work. And therefore I became interested in who was building these places, the construction workers.

The more I continued my research the more it seemed that creating a places to live seems to go together with exploitation of the workers, fighting against hostile nature environments, colonizing living space of others, or simply making lots of money. It seems that the only way we can create a place to live is by employing larges companies who think for us on how we have to live. The choice on how we can live is reduced to the creativity and commercial interests of large companies. The freedom to decide for people how to live is very limited. The way we are living is dominated by market logics, by cost efficiency. In most of the construction sites the workers are not able to buy what they are building. In Egypt and in China the workers had to live on the construction site since no adequate lodging was made available for the workers. The best working conditions were in Brazil as the workers can organise themselves in unions. The workers in the West Bank live in a perverse situation, the working conditions are fairly good and the wages are way much higher then what they could earn in Palestine, but these Palestinian workers are building houses for Jewish settlements, which makes it a pervers situation, once the settlements are built, they are not allowed anymore to enter the new Jewish settlement, it becomes part of Israel and not Palestine.

In Regained Paradise I show the problematic relation we have in creating places to live. By choosing construction sites as a subject matter, I start at the beginning of a place, a point zero, the place where mostly nothing has been build on before, or were all traces have been removed. I traveled throughout the world and found lots of construction sites in the middle of nowhere, like as they were settlements.

During the three year of this project, I have been documenting construction sites in China, Egypt, Brazil and Israeli settlements in the West Bank. My photographs aim to have a better understanding on how and on which terms we are expanding this world we are creating for ourselves.






Kerim Aytac was born in Istanbul in 1979, and grew up in London whilst studying in a French school. Film was an obsession from an early age, and was the subject of his degree studies. Aytac soon found that photography began to offer more creative outlets, which led him to pursue an MA in Photography at Goldsmiths University. His practice is engaged with notions of absence, trace and the psychological and structural codes of the urban environment.
As well as writing about and curating photography exhibitions, Aytac has exhibited Internationally in several solo and group shows, and lives and works in London as a teacher of Film, Media and Photography.


This is a project about British New Towns.
New Towns were mostly built, in stages, between the late forties and early sixties to create new urban centres, as well as to accommodate overspill from major conurbations. They are still being built today.
New Towns were designed for “Modern” living. New Towns are very honest about what it is to live “Modern”.
Drive, Shop, and Eat, Drink then Home.
This is a project about how when there is no other poetry, a space will create some itself. A new language emerges that resembles, ironically, the plans and data visualisations based upon which these towns were built.
The ‘Modernist’ impulse results in the abstract within its spaces as well as its art.
A town built based on a plan can come to resemble that plan in surprising ways, but only once the ‘newness’ has faded.

editor's note

Our aim is to disseminate and bring to light telling work of emergent or young photographers.






In minus 30 degrees everything is frozen and still. It's December and the sun will stay low and it's daily visit will be short.  In the distance I can hear a light pandering noise. It is about 4000 reindeer, hearded here to this particular place for the yearly slaughter. Half of the reindeer pack is to be killed. The other half set free roam the wide mountain range of southern Norway again.  After visiting the reindeer slaughter at Golsfjellet in Norway, I have learned something new. I have always had a strong relationship with nature growing up with a family that like to spend their freetime outdoors. This has made me believe we all need to be aware and do our best to take care of earth and all our resources. The reindeer is a wonderful animal and resource, and at this particular area they are hearded then killed in it's own habitat. They are lucky like that. Avoiding the stress that a long ride in a trailer have on the animal. Killing an animal is a brutal act, it is no way around that. I think it is interesting how some places today, kids or people in general have no thoughts on what they eat, how the animal lived, died or got to their plate. In Norway we have strict rules about animal welfare, but it is just as important to take a personal moral standpoint.   Witnessing this slaughter ritual has made me more selective and appreciative of the meat I eat.

More images of the project  click

About the author

Anki Grøthe lives in the mountain village Hemsedal, in Norway. She is educated in traditional photography at Strømmen High School, 2002. And in 2011 she finished Bilder Nordic school of Photography in Oslo. She specializes in lifestyle documentary photography, and is forever curious about mountain life, peoples various lifestyles and their relationship with nature and weather.    She participated in "The censored exhibition at the Copenhagen photo festival".  In 2012 she attended the world famous "Arno Minkkinen Spirit Level V" workshop. In 2014 she also had an exhibition at Grims Grenka Oslo. Her contribution in the trending book The Outsider, was published by Gestalten the same year. Her last accomplishment was the release of the book "Emma og usynligheten" in February 2016. A poetic documentary about the everyday life of a girl with epilepsy. She is also awarded  New and Emerging Photographer by PDN fall 2016.







Cláudio Reis was born in Vila do Conde, Portugal. He has an Architecture background, and since 2008 has been freelancer in illustration, digital visualization and photography. At the present moment he is finishing a Masters in Photography, at the Escola das Artes, Universidade Católica Portuguesa (UCP), Porto, Portugal.

His work has been distinguished and selected for several exhibitions and associated publications, more recently "Ancrages", Espace 6 Elzévir, Paris, 2013; and the First prize of the "Cityscopio International Photography Narrative Contest Cityscopio", 2013, with his series "Intermission", which had the city and the territory of Guimarães as main subject for a reflection on the impact and meaning of the event European Capital of Culture (CEC) 2012.

"Stems" acknowledges a society predominantly moved by visual stimulus, where every person is both an active photographer and a passive subject. As each minute passes by, pictures are taken, readily uploaded, tagged, shared, and forgotten. Conversely, this is not an innocent process. A mark has been made. In "Stems", each picture is found through a specific noun, verb or adjective. The images are then stripped down to their visual essence as to merge form, color and light, compressing the difference between surface and substance. Rooted in the language, yet visually nameless, they are no longer compelled to overtly simulate reality, perhaps blossoming into something completely unexpected. One never knows.






Nuno Moreira is an independent visual artist working in the realm of graphic design, photography and collage. Born in 1982 (Lisbon), Nuno studied audiovisuals and multimedia communication but always worked as photographer, educator and designer, being most importantly a self-taught image-maker. Currently living in Tokyo and working independently since 2007 through his own studio NM DESIGN, which specializes in art direction for book covers, photography, music design and branding, his side projects include collage pieces under the banner of “Abrakadabra” and numerous series of photography projects/installations, such as the recent published book “State of Mind”.
As a multidisciplinary artist Nuno has exhibited solo and in group shows since 2006 in galleries around the world and his led by curiosity to experience different cultures and engage in stimulating new projects.


"The intensity of a brief experience.
the feeling of being utterly suspended in time, beyond past and future
- this belongs to many, perhaps even to all sensations of beauty."

Peter Zumthor

"State of Mind" is a photographic series, and ultimately a book, about the individual quality of mysterious strangers.
The images were captured over a period of several years by Nuno Moreira traveling in countries such as Japan, Portugal, Hungary, Malaysia, Spain, South-Korea, Romania, Russia, Taiwan - and what emerged is a visual narrative on the poetic quality of individuality and what it means to be lost in thoughts.
The State of Mind series is about the “thinking moments” and the uncertain atmosphere surrounding the people and places encountered on the way.
The book was released as a limited edition of 500 copies and can be acquired online through the artist website or at selected bookstores around the world.

editor's note

Our aim is to disseminate and bring to light telling work of emergent or young photographers.






Nuno Awouters was born in Lisbon, has a background in photography by ESAA and APAF. Has completed his instruction as assistant of Jorge Molder and Carlos Alberto Lopes. Awouters has participated in several individual and colective exhibitions.


Water Lilies Science has demonstrated that each person makes their own interpretation of what they visualise, according to their experiences and what it’s more relevant to them. Therefore, one stimulus may evoke an infinite set of reactions and opinions. This set of images, without outlining the assumption, let that every single emotion that floats through the perspectives, perceive itself that isn’t always easy to change the course, cut the roots and break up the trajectory. In these twelve peculiar records it is captured the prelude of the dismay and the tiredness. The doors closed and the ones opening. The future of dubious opportunities cloistered beneath the salience given to the smoke and to the dark and hot colours. This series reflects a sapid view on this character more and more labeled – the emigrant. The water lilly that sails far away from the safe and comfortable, but forever attached to its origin. That undeniable root will follow him wherever he goes only for not being tied to the soil.

Editor´s note

The presented project was selected from a spontaneous submission made by Nuno Awouters. Our aim is to disseminate and bring to light telling work of emergent or young photographers.






It is a consistent evidence to say that Sergio Tranquilli lives and works in a central region of Italy, where he teaches literature, translates and imagine the paths that will lead him to travel the world so that, putting your ear to his passport, you can hear the sound of footsteps and the voice of the wind. He strives, as it has been suggested to him, to ensure that his "go either mild" but without losing contact with the earth. When he was a child he recognized himself in his pirate costume; today, his sympathy goes to those who manifest a certain spirit of rebellion, freedom, courage, adventure and imagination. With these people he loves to share the road, food and conversation.


The “Mare Mosso” project, “Rough Sea”, starts from the idea of going to photograph a cemetery.  An exploration that has taken the form of a walk through the evidence; the hidden meaning in the everyday life. I think that my exploration has intercepted an invisible word made of charged lines of vitality. A journey towards life and not to death. A journey in the subtle intersection between what we arrange for living and the rising tide of life, between the sense of home and the unknown.

editor's note

Our aim is to disseminate and bring to light telling work of emergent or young photographers.