┐ Lara Jacinto └

© Lara Jacinto, Untitled

© Lara Jacinto, Untitled

As far as the public eye goes, this is our (Portuguese) new emerging photographer. Her images, on the realm of the documentary, have a lot of presence; they reveal intimacy and good awareness of the surroundings. Although not having a strong conductor, I’ll dare to say the thread amidst her work is the stylization of memories, absence, the loss of, the non appropriation of reality and non interference with its time.

More of Lara’s work here

║ Robin Cracknell ║

© Robin Cracknell, from the Notebooks series

© Robin Cracknell, from the Notebooks series

«Loss is the heart of my work; specifically the transience of childhood and how memories of that short period shape the rest of our lives. When my son was born, I felt driven to document and preserve his life in photographs but gradually realised he was more a mirror than a subject and I was actually restaging episodes and conjuring feelings from my own childhood rather than immortalising him as I’d intended. And maybe all photography works with way. Perhaps we are sutured into every snapshot we take and every picture is a self-portrait in disguise and even within the ‘happiest’ moments lurks a subtext of void and artifice.
(…)
The photographs themselves incorporate a unique non-digital process which combines traditional film photography with cinematography, the intention being to give these ‘still’ pictures a vaguely narrative quality that I hope speaks about love, loss and memory. In Portuguese, the word is ‘saudade’– a love steeped in sadness, ‘to feel what no longer exists’. By definition, that is what photography does–to stop time, fend off oblivion, allow us to feel what no longer exists– to remind us of what we have lost or have never had.»

Robin’s statement

More of Robin’s work here

║ Susan Worsham ║

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© Susan Worsham, Lynn watching Dr. Phill, from the series Some Fox Trails in Virginia

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© Susan Worsham, Hearse in my childhood driveway, from the series Some Fox Trails in Virginia

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© Susan Worsham, Untitled, from the series Some Fox Trails in Virginia

“This series of photographs is taken in and around Virginia, the place in which I grew up. The title comes from a book written by my father’s ancestor, to show the lineage of the Fox family in Virginia. For my own purpose, it acts as a metaphorical map, of the rediscovered paths of my childhood home.

At the age of 34, I came back to Virginia to care for my mother, who died shortly after my return. As the last of my family passed, I turned my lens to old friends, and their new families. I photographed the house in which I grew up. The man that lives there now houses snakes in my father’s old office, and rests them in my old bedroom, while he changes their cages. My mother always promised that there were no snakes in my room, and now that she is gone, there are. A hearse sits in my childhood driveway, representing the passing of my father, and suicide of my brother.

These photographs are not meant to be purely autobiographical, but rather representations of how I view things, based on my own experiences, and those of the people that I have met along the way. My boyfriend Michael, stands on the street I grew up on, bridging the gap between past and present. Lynn, the first stranger that ever sat for me, continues to pose for me, along with her son Max. I have been photographing her for sixteen years now.”

To see more of Susan’s work click here

║ Peter Fraser ║

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© Peter Fraser, Untitled, from the series 12 Day Journay, 1984006

© Peter Fraser, Untitled, from the series 12 Day Journay, 1984

“I see photographs everywhere, like everyone else, nowadays; they come from the world to me, without my asking; they are only ‘images,’ their mode of appearance is heterogeneous…I realized that some provoked tiny jubilations, as if they referred to a stilled center, an erotic or lacerating value buried in myself (however harmless the subject matter may have appeared)…” So writes Roland Barthes, pointing out the way in which we have learned to see “photographically,” to frame, to snap, to make our memories into fragmented images to be recalled (or not) as though appearing in a mnemonic scrapbook. The accumulated mass of the world appears as a heterogeneous fabric of multi-colored threads, a tiny percentage of them glistening, glancing toward the eye of a beholder, provoking “tiny jubilations.” Fraser seeks these shudders, behaving as a convalescent drunken child charmed with the sparkle of even the most pedestrian things, unwilling to posit any hierarchy of value between, say, the hue of a lumpy red suitcase and the intricate scaffold-structure of a communications satellite. To borrow a term from Russian structuralism, Fraser is in the business of “making strange,” not because he is endowed with any secret transformative touch but, rather, because he sees strangeness itself as the most natural thing in the world.

Johanna Burton, New York, December 2003

To see more of Peter’s work click here

║ Javier Marquerie Thomas ║

9. Beltrán (2007)

© Javier Marquerie Thomas, Beltrán, from the series Flight of Fancy, 2007

10. Vivian (2007)

© Javier Marquerie Thomas, Vivian, from the series Flight of Fancy, 2007

“Flight of Fancy; to daydream.

Between the impetus of infancy and the inertia of maturity. “The best years of our lives”. Years envied, idealized, over rated. An extensive cloud of anecdotes. An accumulation of memories without a clear continuity. In retrospect, a “phase”. During puberty, we are conditioned to successfully confront the “real world”, but instead we live in a disoriented fantasy; hybrid between something that really has been and a tale.

My mother tongue, apart from Spanish, is English which lead me to being an English teacher. A few years back one of my classes was with two businessmen. We had one-hour classes, twice a week. I was twenty, they were sixty; married, with children and one of them with grandchildren. I was going home to a mattress on the floor and pending bills to pay. The irony of this all seemed somewhat funny, mostly however, it saddened me. Not because of the mattress, this I liked, but because of the realisation that I was now a grown-up. From one day to the next that desire for maturity had turned into something tangible and the image I sought of my self was no longer so pleasant to carry.

Flight of Fancy is a catalogue of characters, fictions conceived as sociological documents of a transformation period. After that leap towards utopia: that is adolescence, we land by inertia into a scripted role, only to find a fiction completely alien to out smattering of adulthood.

Inevitably, in the current, we remain.”

Javier Marquerie Thomas

To see more of Javier’s work click here

║ Andreas Weinand ║

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© Andreas Weinand, Julia und André, from the series Finding Oneself, 1990

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© Andreas Weinand, Gero und Olli, from the series Finding Oneself, 1989

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© Andreas Weinand, Anna und Gero, from the series Finding Oneself, 1990

“While reflecting on my own youth, the cycle Finding Oneself developed from 1988 – 1990 in Essen. The philosophy of life held by the people I photographed during this time reminded me in a way of my own philosophy as a young person in the ’70s, that of not seeing in society a chance for one`s future. The protest of not conforming to society`s conventions, as they were at that time, is an issue I felt also existed amongst the people I met while photographing Finding Oneself.

But as this work developed, I became aware of my own subjective interpretation of the situation; I could no longer compare the lifestyle of those represented in Finding Oneself with that of my own youth. Rather, I recognized that I looked at their lifestyle with the eyes of an adult. My youth had been more than 10 years prior. Out of this tension between sympathy and distance I developed my photographic message.

Both works deal with the question of the identity of the individual within a community. The people in both groups are looking for social contacts. They develop habits and demonstrate their outlook on life. One can say that the individuals and families from Deutsche Volksfeste adhere to a set of rules created for them by previous generations and help to convey those rules0 and codes of behaviour to future generations. Simply said, the people from Finding Oneself oppose the principles and manners given to them by their upbringing. They create a way of living that demonstrates their rejection of social values. In living out this rejection, they create other rules and codes of behaviour.”

Andreas Weinand

To see more of Andreas’ work click here

║ Vardi Kahana ║

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© Vardi Kahana, Yael, Safed, from the series One Family 2007

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© Vardi Kahana, Tal R, Copenhagen Denmark, from the series One Family 2004

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© Vardi Kahana, Cousin Rina, Groningen, Netherlands, from the series One Family 2004

To see more of Verdi’s work click here

║ António Júlio Duarte ║

© António Júlio Duarte, Untitled, from the series We can’t go home again, 2004


© António Júlio Duarte, Untitled, from the series We can’t go home again, 2004

© António Júlio Duarte, Untitled, from the series We can’t go home again, 2004


More of Antonio’s work can be seen here

║ KayLynn Deveney ║

© KayLynn Deveney, Untitled, from the series Edith and Len, 2000


© KayLynn Deveney, Cat on Bed, from the series Edith and Len, 2000


“I began photographing Edith and Leonard Crawshaw shortly after they moved from their flat into a Welsh nursing home. Following a broken hip and an extended hospital stay, Len required more care than than he had previously. That combined with problems such as negotiating stairs, the occasional burned saucepan and Edith’s failing eyesight, finally led to the move. Len went from the hospital straight to the nursing home, and Edith went with him. At ages 93 and 92 respectively, Edith and Len then found themselves spending the vast majority of their day in their one room at the nursing home, where they would sit together, eat together and sleep together.”
KayLynn Deverey

© It’s worth reading (besides seeing) everything about this work.

More of KayLynn’s work can be found here

║ Jessica Dimmock ║

© Jessica Dimmock, from the series The Ninth Floor

© Jessica Dimmock, from the series The Ninth Floor

© Jessica Dimmock, from the series The Ninth Floor

© Jessica Dimmock, from the series The Ninth Floor

“Teetering between photojournalism and personal document (or Eugene Richards and Larry Clark), Dimmock’s color photographs of young drug addicts slowly self-destructing are harrowing and terrific. The thirty-eight small pictures here sketch out two separate but similar narratives, both of which began in a large Manhattan apartment that had been turned into a crash pad and shooting gallery. Dimmock spent three years with the squatters in that apartment, recording relationships as they flared up and sputtered out, and following several of the tenants after they landed on the street. Her subjects are often far from sympathetic, but her pictures are never judgmental and are full of feeling.

Source: The New Yorker



Her photographs can be seen here .

║ Caitlin Atkinson ║

© Caitlin Atkinson, Chapter 22, August, 2004

© Caitlin Atkinson, Chapter 14, August, 2005

“A few nights ago, I locked myself out of my apartment for the third time this year. While I sat trying to decide what to do, I was overwhelmed with the thought that my life seems composed of one mistake after another; that I am living through a seemingly endless series of disappointments. No matter how hard I try, I can’t seem to get it right.

Whether it is an awkward public interaction, unreal crisis, or moment of social disconnection, ordinary life is full of abrupt occurrences that create discomfort and isolation. It is often shocking and painful to discover how unsympathetic and harsh the world can be when we fail. The consequences of our transgressions, however small, leave us feeling inept and alone.

The photographs I create are all constructed scenes inspired by my own encounters with this fear and failure. My interest is focused on these breakdowns of everyday life and the subsequent relationship with defeat. The sad humor and vulnerability in the situations I stage allow viewers to identify with the character I portray. In exposing my own shame and seclusion, I am giving name to the anxiety that plagues us all. The images then serve not simply as an illumination of the feeling of embarrassment, but as representations of undisguised human nature.”

Caitlin Atkinson
More of her work can be seen here.

║ Sunil Gupta ║

© Sunil Gupta, Pentamedine / Attitude, from the series From Here to Eternity, 1999


© Sunil Gupta, Chicago / Hoist, from the series From Here to Eternity, 1999

“I made this work partly in response to a period of illness brought on by the HIV. I thought that it might be time to thinks about how the virus affects my life…”
Sunil Gupta

To view more of Sunil’s work click here.

║ Lisa Lindvay ║

© Lisa Lindvay, Bottles under bed


© Lisa Lindvay, Game Room

“These photographs depict the lives of my father, sister and two brothers, as they take on the burden of my mother’s deteriorating mental state. This work represents an extended look at the physical and emotional currents within their home to question the sanctity of family life and domestic comfort.”
Lisa Lindvay

To vie more of Lisa’s work click here.

║ Jessamyn Lovell ║

© Jessamyn Lovell, Family, 2003
from the series Catastrophe, Crisis and other Family Traditions

© Jessamyn Lovell, Klare Not Listening, 1999
from the series Catastrophe, Crisis and other Family Traditions

© Jessamyn Lovell, Mommy with phone, 1999
from the series Catastrophe, Crisis and other Family Traditions

“There is something about my family that brings me back. I just don’t want them to forget about me out here.
I keep photographing the same place, the same people again and again. Roll after roll goes through my camera and so many questions still go unanswered.
I can’t imagine my life without this project, but I can sense what it used to be is slipping away. I feel myself returning home only to find that everything’s changed.
I think back to when I lived there and took care of them. Now I have to take care of myself. This project keeps them with me.
When I return home, I become overwhelmed with how familiar it all is, even though so much has changed. I remember a piece of myself as soon as I walk through the door. I haven’t come back to photograph, not really. What I want is to be close to them.
I want to go home.”
Jessamyn Lovell

To see this full body of work click here.

║ Jari Silomäki ║

© Jari Silomäki, from the Series My Unopened Letters

© Jari Silomäki, from the Series My Unopened Letters

“In “My Unopened Letters”, Silomäki creates a kind of fictive reality: the tales of a fictive self and network concerning the self’s relationships with other people in the past, present and future. Over the years, he has received letters from different people, which he has left unopened. The letters thus contain countless attempts to contact him, messages from those who wrote them and conceptions of relations between the self of the narrative and the writers. They have all remained clouded in secrecy. The unopened letters are arranged in piles on shelves according to their senders, forming a balanced installation of chromatic beauty, which Silomäki has photographed and printed in large format. This installation is the core of the series. The other small groups of works belonging to the series consist of images depicting situations in the relationships between the writers of the letters and self of the story. They are complemented with text panels commenting on the situations in the images. Jari Silomäki plays with the concepts of document and fiction and their mutual relationship, and the characters of his tales deal with problems and emotions that are true and characteristic of man. In terms of colour, the works are linked through green: the images employ different tones of green lending a kind of distanced, cinematic mood to them.

(from the Anhava Gallery)

To see more of Jari’s work click here.

║ Martine Fougeron ║

© Martine Fougeron, Tête-à-Tête III, c.2007

© Martine Fougeron, Tête-à-Tête IV, c.2007

“This work explores adolescence as a subliminal state, between childhood and adulthood, and between the feminine and the masculine. The portraits, naturally staged, explore the intrinsic interior quest of the adolescent’s journey. I noticed that most photographers portray adolescents as outsiders with a despairing outlook on their world and the world around them. This was not the perception I had of my sons’ lives. I was fascinated by the inquisitive energy, the intense inner quests, the fabulous dreams and ideals, which they exulted. I thought that a calmer, more introspective view of the adolescents’ world could have a fresher resonance, not steeped in sensationalism but in heightened intimacy. My creative process foresees scenes I want to capture. I smell and touch a scene long before I capture it photographically. I have lovingly observed the habits, customs and unique expressions of my two sons and their close friends. My house is a haven for them all.”
Martine Fougeron

To read the full interview click here,
To see more of Martine’s work click here.

║ Amy Elkins ║

© Amy Elkins, Santa Monica Pier, First Visit, from the series Where I found you, 2007

“Where I Found You’ is a project that explores the notion of long distance relationships to one’s family and to what remains familiar. Having not lived in the same state as my family for over six years, this series confronts the fluctuations that exist in my absence. Everything and nothing is always the same.”
Amy Elkins

To know more about this project or Amy Elkins’ work click here