East End Archive




In 1984, Chris Dorley-Brown, a British photographer and curator, started to photograph the corners of East London with several multiple exposures, which gave the possibility of creating a dream-like scenery composed by several narratives happening at the same time. The long term project is a reflection on how those are places of brief interactions and intersections and shows the ever changing side of East London.

The archive is a wide ranging colour record made with medium format colour negative film and, after 2006, digital cameras. Numbering around 8000 images, the archive is expanding it’s scope to include the outer east London boroughs. The pictures study architecture, public events, civic life, portraits, development of housing and social services. Elements of the archive are collected and held by various London Borough archives, the Museum of London, Barts Hospital, BBC and several private collections.


Interview with Anna Brody



“So Far, I think
I Was Something That Lay Under The Sun And Felt It“

SCOPIO sat down to talk with Anna Brody about her most recent work, “So Far, I think / I Was Something That Lay Under The Sun And Felt It”. Brody, currently based in Tucson, Arizona, works with photography to both supplement and circumvent the shortcomings of written word. With this project, she photographs people, places and moments who are waiting to become. She hopes to honor them, and crystallize the quiet accomplishment of just being, now.

“I capture so that I can ask them, how did you become this way? Where will you go from here? Do you feel free? Do you know how beautiful you are? I experience a swelling awe at the glowing beauty of what I’m seeing; a compulsive need to capture and save these incredibly ordinary moments for posterity, web-weaving, and in fear of them slipping away from my memory.”

”So Far, I think / I Was Something That Lay Under The Sun And Felt It” is your most recent project, for how long have you been working on it?
For almost exactly a year now – I finished undergrad in November of 2017, quit a job for good reasons, broke my own heart a couple of times, grew it back together again by making new friends and seeing old friends, traveled a bit, drove myself across the country to my new home in Tucson, and started graduate school here in Arizona. It’s been a very full year!

Tell us more about this feeling of being scared of being alone, which is key to your work. What does that mean to you, and what does it feel like?
It’s not so much afraid of being alone as it is of being lonely – being lonely in crowds or around other people has to do with not feeling seen. How another person—a lover, partner, soul mate friend—can hold your non-performative, authentic self and remind you of who that is, and anchor you in that even while you’re performing in public. I think that’s why I often feel lonely in public; I realize I’m performing and I’m not being authentic, and don’t have that anchor to reference back to. Intuition is what I use when I photograph, and what anchors me to my authentic self because I can’t perform intuition, and in that sense my work acts as a partner or friend would – these images hold evidence of my authentic self, and serve to remind me of what that looks like, and to trust myself, that my intuition is worth something.  To feel seen and understood is to share your perspective on the world with someone else and to have them get it, and collecting intuitively captured pictures shows myself back to me. It mirrors my own perspective back to me because I don’t agonize over it in the moment, I’m not trying to explain it at the time I just do it, and then afterwards I see myself more clearly and I think it represents my best self in a certain way? My most open, least cynical self. And sharing that with myself makes me my own anchor. That sounds super sad on paper, but it’s true – it’s a process of intuition, understanding, and affirmation in and of myself. And hopefully, for a handful of other people who connect to my work in a non-logical, holistic and wholly authentic way.

You say you photographed to ‘circumvent and supplement the failures of our written word to express the complex’. What do you mean by that? Could you tell us a bit about your relationship with the medium of photography? When and how did it start?
Rebecca Solnit is an author and theorist who has changed the way I see the world. In one of her best-known books, Men Explain Things to Me, she states: “The tyranny of the quantifiable is partly the failure of language and discourse to describe more complex, subtle, and fluid phenomena, as well as the failure of those who shape opinions and make decisions to understand and value these slipperier things.” I believe photography—and art of any medium—can work around these shortcomings of language and discourse by allowing for imagery to represent, relate, and describe some of the many things that fall outside of what can be quantified or described with words. In doing so, art allows for meaning and value to be recognized in things that might otherwise be deemed unimportant because of their ineffable nature. In photographing the quiet unspectacular nonevents of just being, now, I can elevate and crystallize what would otherwise not be considered notable (literally, that you cannot make note of it because there aren’t the words to do so). In our culture, if you are not productive you are not valuable, and therefore not notable. Productivity is measured by the accomplishments of progress as recognized by colonial institutions that sanction the pursuit of capital above human life, joy, and freedom (especially, in the US, above the lives, joy and freedom of people of color, trans people, people with disabilities, and many other individuals who are deemed expendable in the face of the almighty dollar.) Systems of power need to quantify and categorize in order to maintain control. White supremacy, for example, requires among other things the quantification of melanin in order to construct the social (not biological) categories of race and/or ethnicity in order to maintain control over certain categories with certain ostensibly quantifiable traits. I and many other artists hope to subvert that which makes this control enactable – that which makes it so that a claim to power can be carried out with any sense of justifiable right. Question the claims by which a structure is imposed and leave it up to the viewer to bring their own vision of truth and connectivity to the work and to the world. Art, in all its subjectivity, can honor the personal history, life experience, and perspective of the viewer, and assert that they are equally as authoritative and meaningful as the intentions of the artist or what is understood culturally as truth. My working mission is that authoritative praise for quantifiable achievement should not be a precondition to appreciation; to see the ordinary and unotable as extraordinary—that is love, and that is what I aim to express and affirm.

Who are these people you photographed? How did you approach them to be involved in your documentary project? Where was the balance between privacy and exposure?
They are a mix of friends, family, and complete strangers. I approach with honesty about my intentions, and personal vulnerability that ideally allows for the subject to feel comfortable letting down some of their own walls to create a collaborative connection that achieves that tricky balance between privacy and exposure. This doesn’t always work, but it’s so rewarding when it does that I don’t think I’ll ever stop trying. I will say here though that I don’t consider this work to be a documentary—it is social, built, and residential landscape work, but it doesn’t follow any structure or logic that is consistent or narrow enough to constitute a documentary.

Do you see a common thread in the stories you choose?
The common thread is that my work shows me what the web is that I belong to, and a feeling of belonging is priority #1 for me. When I feel like I belong, I am able to approach humanity with tenderness, hope, and humor that make it so that I can get out of bed in the morning. It’s optimism, I guess. Grief and hope, power and vulnerability, resilience and fragility, discipline and addiction. These are non-binary landmarks of humanity as it is now, as it has always been, and as it most likely will always be until our species is gone – they’re definitely common threads. 

What was most interesting for you about the people/places you photographed?
I’m always curious about the power of association and the mutability of identity according to context and available information. Photographs allow for a deep questioning of the fixed nature of meaning. It is in our nature to categorize something and then quickly move on so we are ready to assess the next situation—that’s how we evolved, and we need to take more time to allow for the understanding of this shifting and changing, how time works to change both subject and viewer. My images freeze the people places and things I see into an immutable sameness - they aren’t going anywhere they aren’t going to change but you and I will and their arrangement might and their context definitely will, and in those variables there is an endless multiplicity of meaning, identity and narrative understanding.

Would you agree that we cannot relate fully with others if we do not accept that we are all alone in this world?
Yes, although I hope we’re both wrong. 
“I was something that lay under the sun and felt it, like the pumpkins, and I did not want to be anything more. I was entirely happy. Perhaps we feel like that when we die and become a part of something entire, whether it is sun and air, or goodness and knowledge. At any rate, that is happiness; to be dissolved into something complete and great. When it comes to one, it comes as naturally as sleep.” 
— Willa Cather, My Àntonia


Editor: Rita Silva


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.




You don't look Native to me




“You don‘t look Native to me is a quote and the title of a body of work, that shows excerpts from the lives of young Native Americans from around Pembroke, Robeson County, North Carolina, where 89% of the city’s population identifies as Native American. The town is the tribal seat of the Lumbee Indian Tribe of North Carolina, the largest state-recognized Native American tribe east of the Mississippi River, which means they are federally unrecognized and therefore have no reservation nor any monetary benefits.

I am tracing their ways of self-representation, transformed through history, questions of identity with which they are confronted on a daily basis, and their reawakening pride in being Native. The work consists of portraits, along with landscapes and places, interiors, still lives, and situations. The aesthetic framework that is presented offers clues – sometimes subtle, sometimes loud – for imparting a feeling for their everyday lives.

My work engages an unfamiliar mix of concepts: a Native American tribe whose members are ignored by the outside world, who do not wear their otherness on their physique, but who are firm in their identity. Through photography, video and interviews, I am investigating what happens when social and institutional structures break down and people are forced to rely on themselves for their own resources. This raises questions to the viewer regarding one’s own identity and membership to the unspecified mainstream.

This work was started in 2011.”

Maria Sturm

Since 2011, Maria Sturm has photographed teenagers from the Lumbee tribe in and around Pembroke, North Carolina, where almost 90 percent of the population identifies as Native American. Unlike other native tribes, the Lumbee were not forced to move during colonial expansion and have subsequently maintained a strong connection to their land. Sturm’s series You Don’t Look Native to Me considers how young Native people present themselves today in relation to their identity and culture. At first glance, Sturm’s photographs might appear to depict the daily life of a community almost anywhere in America, but elements of hybridity—Halloween fangs on a child in Tuscarora regalia; dreamcatchers and a school portrait on a living room wall—signify the mixing of heritage and contemporary culture.


Maria Sturm (b. 1985, Romania) received a diploma in Photography from FH Bielefeld in 2012 and a MFA in Photography from Rhode Island School of Design. She is a Fulbright and DAAD scholar. She has won several prizes including the New York Photo Award 2012 and the DOCfield Dummy Award Barcelona 2015 with the work Be Good.

Her most recent work You don't look Native to me about the unrecognized Lumbee tribe of North Carolina was nominated for Vonovia Award, shortlisted for PhotoLondon La Fabrica Book Dummy Award and made the 2nd place at Unseen Dummy Award. It was published in British Journal of Photography and Filmbulletin and exhibited in the German Consulate New York, Clamp Art New York, Wiesbadener Fototage, Encontros da Imagem, at Artists Unlimited Bielefeld and at Aperture Foundation New York among others.

It will be next shown at Addis Foto Fest and Photo Vogue Festival.

Having met in during a month-long residency at Atelier de Visu Marseille and workshop with Antoine d'Agata in 2012 Cemre Yeşil and Maria Sturm kept in touch ever since. Their permanent exchange led them to start a collaboration and in 2014 they have photographed For Birds' Sake, a work about the Birdmen of Istanbul. This work was published as a photobook by La Fabrica Madrid and featured in Colors Magazine, The Guardian, British Journal of Photography and ZEITmagazin among others. It was exhibited during Internacional de Fotografa de Cabo Verde, FotoIstanbul, Bitume Photofest Lecce, Organ Vida International Photography Festival Zagreb, Format Festival Derby, Darmstädter Tage der Fotografie and at Daire Gallery, Sol Koffler Providence, La Fabrica Madrid, Pavlov's Dog Berlin, Deichtorhallen Hamburg and it was a finalist at PHE OjodePez Award for Human Values 2015 and Renaissance Photography Prize 2017 and nominated for Lead Awards 2016 and Henri-Nannen-Preis 2016. It was also shortlisted at Arles Author Book Award 2016 and Prix Levallois 2017.

instagram: https://instagram.com/maria__sturm/
facebook:  https://www.facebook.com/maria.sturm
twitter: https://twitter.com/maria_sturm







Kip Harris is a retired architect with degrees in English literature, humanities, and architecture. For nearly 30 years, he was a principal of FFKR Architects in Salt Lake City, Utah focusing on university / K-12 school buildings and Native American gaming projects. The last of these was Talking Stick Resort / Casino in Scottsdale, Arizona. His interest in public art has lead him to a three year membership of the Art Design Board of Salt Lake City and to extensive use of Tribal art in Native American casinos.
His photographic work has been exhibited in group and solo exhibitions in the US, Canada, and Europe and on a variety of photographic websites. He now lives in a small fishing village on Nova Scotia’s South Shore in a heavy timber cape originally built in 1823.



“... the canvas began to appear ... as an arena in which to act. What was to go on the canvas was not a picture but an event."

Harold Rosenberg


Brightly painted walls in sunlight have the power to stop me in my tracks. It may be the surprise of something novel or the accidental harmony of the color combinations. I have felt this surprise when confronted with the deep blue of Giotto’s Upper Chapel at San Francesco in Assisi or seeing Blaue Reiter or Fauvist paintings or opening a new box of Color Aid. Often the best color combinations occur as part of a repair effort that wasn’t quite finished, leaving it in a state of unresolved tension like the best abstract expressionist paintings. These painted walls can create an immediate connection between the observer and the painter - a dialogue too often missing from our streets and buildings.

The images in this portfolio come from hours of wandering through poorer parts of cities looking at collapsing walls using a camera instead of a brush to capture what caught my eye. Trying to convey this evanescent quality is slippery. It can pass by your eyes like water.

editor's note

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






Ways of Escape is an intricate entanglement of symbols, human figures, and unresolved landscapes. Portrayed as the birthplace of western culture, Athens is often the perfect backdrop for projected historical assumptions, which cast shadows on a shattered present reality.

Is every city expected to live up to the specific ideas that formed it? Can a city escape its future? The series follows the traces of these ideas by observing the surface of Athens.


About the author:

Antonis Theodoridis (MFA Photography University of Hartford) is an artist based in Athens, Greece working in the mediums of photography, photo-montage and installation. His work explores history, fiction and mythology set against a backdrop of modern western identity. His first monograph Newspaper from the American West is published by Agra Publications in 2018. His recent work Ways of Escape has been exhibited in the Benaki Museum, as part Athens Photo Festival '17 main program.


Website: www.antonistheodoridis.com







Sim, há lugares em que a noite é mais noite, com as sombras a confundirem-se com os corpos e os objectos. Tudo o que por lá se move parece projectar uma realidade escondida.  Naquelas ruelas, por exemplo.  Naquelas ruelas interiores que os grandes blocos de prédios permitem e comprimem, há uma vida oculta, imperceptível. É preciso entrar pelo escuro para sentir esse pulsar. No reverso dessas ruelas as vias são largas, iluminadas, com uma luz calculada para projectar a exuberância das grandes casas comerciais e para deixar respirar os neóns e as aparências.  A cidade vive destes contrastes. Sem contemplações acolhe a liberdade dos poderosos e, ao mesmo tempo, a escravidão dos homens amarrados a um trabalho que os consome lentamente. Desfigurando-os. Até se tornarem invisíveis dos demais.

Yes, there are places where night is more night, with shadows confused with bodies and objects. All things moving around there appear to be projections of a hidden reality. In those lanes, for example. In those inner lanes that great blocks of buildings create and compress, there is a hidden, imperceptible life. It is necessary to enter through the dark to feel that pulse. Behind these lanes, the streets are wide, well-lit, with light calculated to project the exuberance of the large shops and give the neons and appearances room to breathe. The city lives on these contrasts. Without ceremony, it accommodates the freedom of the powerful and, at the same time, the slavery of the men tied to work that slowly consumes them. Disfiguring them. Until they become invisible to others.


Sobre o autor:

João Miguel Barros nasceu em 1958, em Lisboa  

É advogado de profissão, em Lisboa e Macau. Foi codiretor da revista de cultura e artes visuais SEMA (1979-1982). Recentemente começou a expor os seus trabalhos, tendo publicado em 2017 o livro de fotografia Between Gaze and Hallucination.  

Actualmente tem no Museu Berardo, Centro Cultural de Belém, uma exposição de grande fôlego denominada "Photo-Metragens", constituída por 14 pequenas histórias independentes, com imagens e textos ficcionados.  

Nos últimos anos tem vindo a estudar os principais artistas contemporâneos chineses e japoneses. É curador freelancer na área da fotografia contemporânea, tendo organizado duas exposições de fotografia de artistas chineses em Portugal e estando a trabalhar em vários outros projectos de curadoria para o próximo triénio.






After the civil war which ended in 1949 there are two China’s, the People’s Republic of China * and the Republic of China better known as Taiwan*, both are locked in a complex military, political and diplomatic confrontation. Since then, the relations between China and Taiwan have been characterized by limited contact, tensions, and instability, due to the fact the Civil War merely stopped without formal signing of any peace treaty and the two sides are technically still in a state of war. The questions of independence and the island's relationship to mainland China are complex and inspire very strong emotions among Taiwanese people. As such, the political status and the legal status of Taiwan (alongside the territories currently under Taiwan jurisdiction, like the islands of Matsu an Kinmen) are in dispute. In 1971, the United Nations gave the China seat to China instead of Taiwan: most states recognize China to be the sole legitimate representative of all China, and the UN classifies Taiwan as "Taiwan, Province of China". Taiwan has de facto relations with most sovereign states. US policy has been described as one of "strategic ambiguity", seeking to balance China's emergence as a regional power with US admiration for Taiwan's economic success and democratization. 

These series are to be framed within this historical context. In between the Chinese mainland and Taiwan lies the small Taiwanese islands of Matsu and Kinmen so close to mainland China they can see each other. The islands are culturally related and geographically very close to the China, but politically to Taiwan. This geographical proximity of these two ‘enemies’ made me curious. Although things cooled down over the years, the islands remain still heavily militarized. The islands of Kinmen, which means Golden Gate and are only a couple of kilometeres from the Chinese city of Xiamen, has a long and rich common history over more the 1700 years. The archipel of Matsu, very close to the Chinese city of Fuzhou, used to be just some small fishing villages, but became a frontline between the two states, with thus heavy militarization as a result. Only in 1992 the military administration was lifted and (some) of the island became open to the public. 

* For easy reading and understanding of the texts the word China will be used to described the People’s Republic of China and the word Taiwan will be used to describe the Republic of China. By no means the use of these words have political connotations, these words are used for more easy reading and understanding of the texts, since to my believe, these words are commonly used to describe both states.

** The title of these series The frontline relies on you refers to a free translation of the song Jun Zai Qian Shao (君在前 哨 ) by the immensely popular late Teresa Teng which is being used as propaganda in Beishan Broadcasting station on the island of Kinmen. 


About the author

Verdickt’s work shows a fascination on how ideas and ideologies can sublimate into images and formulates them into a visual story. In order to find stories he travels around the globe, mainly Asiatic countries.In 2014 he published his first book ‘The South Street Village’, his second book ‘Nobody Likes To Be Hindered By WorldlyTroubles’was shortlisted for the Liège PhotobookAward,the Belfast PhotobookAward and the Athens Photobook Award. In 2015 he won the LensCulture Exposure Award. His work has been published internationally, including GEO Magazine, Private, De Volkskrant, De Morgen, among others. Franky Verdickt was born in Belgium in 1971. 






Invited authors: Miguel Carneiro and Pelucas Martin

“PUBLIC ART is a broad term which refers to artworks in any MEDIA created for and sited either temporarily or permanently in public places. Public places are generally associated with external spaces; however, artworks can be situated outside in private spaces, such as shopping malls and private housing developments, or inside in public spaces, such as publicly funded ART MUSEUMS and GALLERIES or hospitals and libraries. Consequently a definition of what constitutes public space is problematic”.1

In 2001, David Hickey2 brought together the work of twenty nine artists at SITE (Santa Fe International Biennial) in an impressive installation created by Graft Derin. Several kinds of works were presented in that installation, which significantly turned the museum into a large “Architectural Frame”. This event at SITE proved that the installation of an exhibit may adopt different strategies and configurations and that, more often than not, it is the artwork’s spatial configuration and location itself that will create a new space. In this case, the result is an impressive “Architectural Frame”, with a non-traditional configuration, where the placement of the works reinforces the innovative spatial character of the museum.

Like the artists in the seventies, who felt the need to create their own spaces to experiment with new languages and to answer the excessive “institutionalization” of conven- tional spaces such as museums and galleries, public art also tried to find an answer for the traditional classical monumentality. It is important to clarify what public art means; the defi- nition is controversial and not easy to establish with accuracy, implying different perspectives. Although easily identifiable, Malcom Miles’s description – “the term ‘public art’ generally describes works commissioned for sites of open public access” (in “Art Space and City: Art and Urban Futures”) – is still not enough to offer a coherent definition. In my opinion, Harriet Senie3 offers a more significant answer to contemporaneous impulses when she tries to define public art as a consequence of having audience as a starting point for the creation of the artwork, thus making it respond to the viewer’s perception of that very same work.


The artworks here on display, mainly chosen because their supports are several plans of building that have become derelict, belong to two authors from different fields who show strong similarities in the work they develop. They are not trying to be “main stream” nor are they exactly “against the current”. They embrace their individuality through great phantasy and imagination. They are simply artworks.

Miguel Carneiro’s intervention target “Cospe Aqui” [“Spit Here”] is well known by those of walk around Cedofeita14. Although dating back some years ago, it is still very up-to-date. Being somewhat hostile, the author states that “Who was born and has lived in Porto has an instinct to slalom between the many obstacles left by men and animals along the city pavements. (...) COSPE AQUI [SPIT HERE] stencil appears in this context, as an attempt to maximize this cultural habit as an evocative provocation. Although at first it randomly competed with other marks in the pavements, the stencil soon started to direct itself to more international targets, from political propagandas, including party headquarters and multinationals, to the most exclusive art gallery entrances, everything could become a target for the excess of saliva that we daily gather in the mouth”. The juxtaposition of the stencil with signs of political nature, near art galleries, clearly shows its interventionism, a critical message to the oblivion of some, through an image an undeni- able and much needed irreverence. On the contrary, Pelucas Martin is an author with a great graphic accuracy, who in his imaginary looks for references of his back- ground. Sometimes architectural details of that early period stand out (see the mural in the former Campanhã space, nowadays “Oficina Arara” [“Arara Workshop”], Campanhã Porto). The phantasy is rather evi- dent in the different artworks. Sometimes a kind of anthropomorphism appears, poking at the frontier of illustration, especially when referring to a set of characters who, outside their habitat, contradict the images commonly used in today’s precarious urban environments.


1 http://www.imma.ie/en/downloads/publicart.pdf

2 North-American Art critic. Author of The Invisible Dragon: Four Essays on Beauty and Air Guitar, Essays on Art and Democracy. Professor of Art Theory and Criticism at the University of Las Vegas.

3 Senie, Harriet, Contemporary Public Sculpture: Tradition, Transformation and Controversy, Oxford University Press, New York,1992.4 Cf. The presentation of several works by avant- garde artists, such as Calder, Picasso or Moore, just to name a few. mouth”. The juxtaposition of the stencil with signs of political nature, near art galleries, clearly shows its interventionism, a critical message to the oblivion of some, through an image an undeni- able and much needed irreverence. On the contrary, Pelucas Martin is an author with a great graphic accuracy, who in his imaginary looks for references of his back- ground. Sometimes architectural details of that early period stand out (see the mural in the former Campanhã space, nowadays “Oficina Arara” [“Arara Workshop”], Campanhã-Porto). The phantasy is rather evi- dent in the different artworks. Sometimes a kind of anthropomorphism appears, poking at the frontier of illustration, especially when referring to a set of characters who, outside their habitat, contradict the images commonly used in today’s precarious urban environments.







Shin Noguchi is an award winning street photographer based in Kamakura and Tokyo, Japan. He describes his street photography as an attempt to capture extraordinary moments of excitement, beauty and humanism, among the flow of everyday life and has a discreet, poetic and enigmatic approach that is sensitive to the subtleties and complexities of Japanese culture without using posed/staged and no-finder/hip shot.
"Street photography always projects the "truth". The "truth" that I talk about isn't necessarily that I can see, but they also exist in society, in street, in people's life. and I always try to capture this reality beyond my own values and viewpoint/perspective."



"Nonverbal Space", it is unstable, distorted, and contradicts what we have created. And [Ma], exists in there.
The characteristic of the Japanese [Ma] is very beautiful, also delicate, and if you are not always aware of the very small amount of undulation of [Ma], it loses balance immediately.
I tried to listen to a lump of invisible voice (or the voice that was confined) of [Ma] existing in nonverbal/unstable spaces of our daily lives, and I aimed to visualize the two invisible elements, [Ma] and human [Gou] (karma/conduct) that underlies in [Ma].
Also, in this project, I dared to express the human being as the existence (visualization of [Gou]), not as an individual but by making the whole nonverbal space the subject without including people in the frame. this way, i am managing the awareness of the relationship between individuals, society and the surrounding environment for the viewers.
Danshi Tatekawa said that "Rakugo is an affirmation of human [Gou] (karma/conduct), that is, inconsistency", and Alexander Pope also said that "To err is human, to forgive divine".
As they talked towards "people", could their words really be said in front of the "Nonverbal Space" which is more closer to the "society"? and could that "forgiveness" recreate another type of hope or a new possibility in this land where everything had changed to something that looks irreversible?
I shoot the "Nonverbal Space" (it is unstable, distorted, and something contradicts what we have created) while being aware of their words which were created by human beings as well.
Finally, by expressing the subjective viewpoint of the photographer, this project is, so to speak, an antithesis against the new topographic photographs.


editor's note

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







Rarely does something in reality look the same as in our memories. This morning was the first time in a long time that I was able to see my home town precisely as it exists in my mind. The small town where I grew up is called Siófok,- in Hungary- it's right on the lake shore of Balaton, the largest lake in Central-Europe. It's often called the summer capital of the country due to its touristic position, with 25.000 inhabitants which in summer is often going up sevenfold. For most people Siófok is only known as their holiday place, with the blue lake and happy summer moments, however those who grow up here can see the town in an entirely different way. The places and things important to me are totally different than those liked and remembered by the tourists, and I feel that this is how it should be. I left this place 10 years ago, and every time I return I feel a deep nostalgia. I think that growing up here, and being a local, is a lucky situation as it enables me to show this place in an unusual and unexpected context.


About the author:

Marietta Varga was born in 1992, in Hungary. She completed her studies, BA in Photography at Moholy-Nagy University of Art and Design between 2013-2016.  Currently living and working between Budapest and Siófok. Her visual world is described as simple and clean, balanced with precisely directed compositions.

Her sensitivity in the use of colours and spatial awareness help to create the unique atmosphere of her visual world. Her pictures often have strong symbolism where the viewers can find themselves in a strange surreal dream.


website: https://www.mariettavarga.com/






Jan Piotrowicz is an urban landscape and architecture photographer based in Manchester, UK. Piotrowicz is soon-to-be photography graduate. In his work, city as a subject and issues of urban space and planning are critical and most prominent features. In his work is present a constant inquest into those domains. Other inspirations include psychogeography and topography as the modes of exploring and responding to the urban environment. "La beauté est dans la rue".

Piotrowicz is obsessed with a notion of space and my photography is an attempt to capture it. He believes that the places people live in tell more about them than any portrait would ever do. With a little background in urban planning, He tries to seek for areas where urban meets nature, where ugliness unites with beauty. He constantly try to give places a new meaning.  Piotrowicz believes that the public keeps many secrets to be revealed. 


In 2007, Professor Danny Dorling from University of Sheffield made an attempt to measure and map English national stereotype: the myth of the North and South differences. Can something so vague can be presented as a specific geographical feature on a map? A line was created, spreading from North-East regions of Lincolnshire down to the South-Western county of Gloucestershire. The line seems to be not only an artificial border between the two distinctive areas; it also runs diagonally across the whole Midlands and beyond. The project is about materializing that line. 25 towns and villages were picked with the strict rule: the border needs to fall directly on them. By playing a reversed connect-the-dots game, the journey plan was established. Each single picture is an attempt to seek identity: North, South or maybe Mid? The line acted as the guide in search of the default, generic England, free of the stereotypes and divisions.

Editor´s note

The presented project was selected from a spontaneous submission made by Jan Piotrowicz. 






"In Transit" is a project based on the artist's personal experience of change and displacement. In 2011 Carlos moved from his hometown in Spain to San Francisco, CA, fact that certainly transformed his cultural and personal environment, this series is the result of that period of adaptation and change. Through different elements as home, fate or youth, the project works around the idea of displacement, nostalgia and dislocation, and tries to translate into images the feeling of not belonging to any land, not the one he left but not the one where he is neither, feeling mentally in transit.

Most of the photographs in the project are divided in three groups. - house entrances, random elements found in the street by chance and portraits of young subjects- each of them represent a certain part of the journey and are intended to interact and complete each other, working together almost like a code, these groups of pictures are mixed and displayed in three different sizes when exhibited, in a non linear narrative form, creating a sense of rhythm within the series. All these elements together form  ̈In Transit ̈, a body of work that represents the process of this new journey; the instability, the uncertainty, the feeling of adaptation or the lack of it.


About the author

Born and raised in Madrid (Spain), Carlos graduated from the European University of Madrid with a master’s degree in Photography in 2010, that same year he was selected as one of the best upcoming photographers to participate in the international award "Descubrimientos PhotoEspaña”, shortly after he moved to San Francisco to continue developing his career in Photography where quickly got involved in the Photography community of the Bay Area, taking part in several group shows in galleries and venues in different cities of the United States, He was also the recipient of the Rayko’s artist-in- residence program in 2014 and was chosen as one of 2016 PDN's 30 new and emerging photographers to watch, more recently, his project Façade was shortlisted for the Book Dummy Award organized by Photo London and La Fábrica.

Currently, Carlos splits his time shooting both personal work and editorial assignments for magazines like Apartamento, The FADER, WSJ Magazine or The California Sunday Magazine among others.


website: https://www.carloschavarria.com






Along the banks of Kifissos river of Athens, there was once a great Olive Grove. The siting of the heavy industry in the area during the 19th century, put an end to this immense garden that was marveled by historians and travelers. Now only urban weeds & invasive trees are growing. The traces left of the past topography are covered by the dust and lost in the disturbing noise. During the daylight heavy trucks ply the roads emptying products in warehouses and factories. The darkness of the night though is transforming the place. The distant horizon disappears while the shadows of old and new green are emerging from the dirty roads of this unruly industrial landscape.

The olive grove was preserved intact until the 1880s, according to the map drawn by the German cartographer Johann Kaupert. Among the 170.000 trees of the time there was also mapped the first industrial building of the time, a tannery.


About the author

M. Arch/School of Architecture/Aristotle University of ThessalonikiGreek freelance photographer and architect working on a long term projects, covering environmental, social and urban issues. Born in Istanbul Turkey, lives and works in Athens.

website: www.reapapadopoulou.com






In Paramaribo, the main city of Suriname, Jacquie Maria Wessels photographed city scenes, dominated by the typically Surinamese wall paintings: hand-painted advertisements containing hyper-realistic depictions of tools, soup cans, oatmeal, hot dogs and other products, along with exhortations like 'Do your best in school'...  This carefully composed photo series is both alienating and surrealistic and gives the viewer in a playful way a glimpse into the Surinamese culture and daily life.      

The analogue photographed series 'Cityscapes' is published in the Photo Book 'Cityscapes + Birdmen' by Voetnoot publishers.


About the author

Jacquie Maria Wessels was born in Vlaardingen, the Netherlands, and presently lives and works in Amsterdam. She graduated from the Gerrit Rietveld Academy in Amsterdam in photography in 1990, and studied social psychology at the Vrije Universiteit (VU) in Amsterdam. Wessels has developed into an autonomous/documentary photographer who prefers to delve deeply into a subject over a long period. She travels all over the world to discover new surroundings. Her subjects often serve as a framework for investigating the diverse social situations in which people find themselves.

The work of Wessels has been exhibited at various locations in the Netherlands and abroad including, Photography and Visual Arts Festival Encontros da Imagem in Braga (PT), the Surinaams Museum in Paramaribo (SR), Museum Het Valkhof in Nijmegen (NL), Museum IJsselstein (NL), Museum of Photography Thessaloniki (GR), PhotoBiennale Greece (GR), Noorderlicht Photo Festival in Groningen (NL), New York Photo Festival (US), Gallery Carte Blanche San Francisco (US), Naarden Photo Festival (NL), Corcoran Gallery Washington (US), Gallery Cultural Speech Amsterdam (NL), Galerie Baudelaire Antwerp (BE), Municipal Museum Arnhem (NL), Amsterdam Municipal Archive (NL), the Historical Museum in Amsterdam (NL) and diverse (inter)national Art Fairs.


Website: https://www.jacquiemariawessels.nl/portfolio.html