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We are pleased to announce the longlisted photographers of the Form Photo Award 2026. This year, the standard of work is exceptionally high, reflecting the remarkable talent and creativity of contemporary photographers from around the world. Each longlisted artist brings a unique perspective, a fresh aesthetic, and thought-provoking ideas that challenge and inspire.
The Form Photo Award, supported by photo basel, Picter, and Form Magazine, is dedicated to discovering emerging voices in photography. It aims to foster global dialogue, intellectual exchange, and cross-cultural solidarity within the art community. Every submission represents a new vision, a story waiting to be shared, and the longlist is a testament to the vibrancy and diversity of contemporary photography today.
This year’s longlist demonstrates just how dynamic the field of contemporary photography has become, and we are proud to highlight the vision, originality, and skill of all the artists included.
The Form Photo Award, supported by photo basel, Picter, and Form Magazine, is dedicated to discovering emerging voices in photography. It aims to foster global dialogue, intellectual exchange, and cross-cultural solidarity within the art community. Every submission represents a new vision, a story waiting to be shared, and the longlist is a testament to the vibrancy and diversity of contemporary photography today.
This year’s longlist demonstrates just how dynamic the field of contemporary photography has become, and we are proud to highlight the vision, originality, and skill of all the artists included.
Form Photo Award 2026 Longlist
Ana Elisa Sotelo
Irina Shkoda
Sharon Draghi
Carlo Rusca
Gerlinde Miesenboeck
Caroline Heinecke
Diana Cheren Nygren
Emilia Martin
Lara Gilks
YosukeMorimoto
Irina Shkoda
Sharon Draghi
Carlo Rusca
Gerlinde Miesenboeck
Caroline Heinecke
Diana Cheren Nygren
Emilia Martin
Lara Gilks
YosukeMorimoto
Ludovica Bastianini
Morgan Ford Willingham
Felipe Russo
Nadia Rodionova
Fyodor Shiryaev
Ariana Zukowski
Sofia Pagliaro
claudia greco
Virginia Morini
Ernesto Notarantonio
Morgan Ford Willingham
Felipe Russo
Nadia Rodionova
Fyodor Shiryaev
Ariana Zukowski
Sofia Pagliaro
claudia greco
Virginia Morini
Ernesto Notarantonio
Una Hunderi
Arturo Martinez-Steele
Kinga Wrona
KUMON Kentaro
Ieva Saudargaitė Douaihi
Benji Freeman
Nyo Jinyong Lian
Gideon Yeehun Tsang
Mischa Lluch
Katerina Andriuscenco
Arturo Martinez-Steele
Kinga Wrona
KUMON Kentaro
Ieva Saudargaitė Douaihi
Benji Freeman
Nyo Jinyong Lian
Gideon Yeehun Tsang
Mischa Lluch
Katerina Andriuscenco
marvin dreblow
Amelia Lancaster
Dane Murner
Ingrid Weyland
Tommaso Sacconi
iamhay
Simone Padelli
Ilias Lois
Amelia Lancaster
Dane Murner
Ingrid Weyland
Tommaso Sacconi
iamhay
Simone Padelli
Ilias Lois
Ana Elisa Sotelo
Animism
Animism
Made under the Peruvian sun, Animism is a series of lumen prints created across three Peruvian geographies: the Pacific coast, the Andean highlands, and the Amazon rainforest. Conceived as a collaboration between the elements and photographic paper, native medicinal plants are placed directly upon the paper in their environments. Rooted in Andean and Amazonian cosmologies that recognize that all plants possess a spirit, the images emerge through contact and exposure rather than photographic capture, as imprints shaped by light, water, temperature and time.
Ana Sotelo is a Peruvian photographer and educator whose work focuses on gender, culture, and the relationship between humans and the natural world. She often merges art with activism, creating collaborative projects that amplify collective voices and experiences. Based in Washington, D.C., she teaches high-school photography while continuing to develop long-form photographic projects.
Irina Shkoda
I am Here for You
I am Here for You
"Here I am! I stand at the door and knock. If anyone hears my voice and opens the door, I will come in and eat with them, and they with me." (Revelation 3:20)
In April 2022, I left Ukraine for France. As a refugee, I entered a culture foreign to me. Being welcomed required me to adapt, to speak a new language, to submit to rules: to lose parts of myself in order to be accepted. In this project, I explore my personal experience of hospitality, both given and received.
Hospitality, according to Jacques Derrida, has a dual aspect: ethical and political. It includes a power dynamic and an underlying violence. The host takes a risk: the guest, by their mere presence, imposes an otherness that can unsettle, or even transform, the host. To give one’s home is to risk no longer being at home. It is to allow oneself to be invaded, to be dispossessed. Show more
In April 2022, I left Ukraine for France. As a refugee, I entered a culture foreign to me. Being welcomed required me to adapt, to speak a new language, to submit to rules: to lose parts of myself in order to be accepted. In this project, I explore my personal experience of hospitality, both given and received.
Hospitality, according to Jacques Derrida, has a dual aspect: ethical and political. It includes a power dynamic and an underlying violence. The host takes a risk: the guest, by their mere presence, imposes an otherness that can unsettle, or even transform, the host. To give one’s home is to risk no longer being at home. It is to allow oneself to be invaded, to be dispossessed. Show more
Renée (actually named Irina Shkoda) is a visual lens-based artist born in Kiev (Ukraine), based in Paris. She is currently pursuing a Master’s degree at the University of Paris 1 Panthéon-Sorbonne. Graduated from the School of Modern Photography Docdocdoc, Saint-Petersburg, in 2019. Was part of the Herodote program at the Beaux-Arts de Paris in 2022 – 2023.
The most important part of her work is dedicated to personal long-term projects that contemplate the notion of the sacred and the associated taboos. The impulse for research on this topic arose as a result of her adolescent experience, when she spent a significant part of her time in a convent.
The most important part of her work is dedicated to personal long-term projects that contemplate the notion of the sacred and the associated taboos. The impulse for research on this topic arose as a result of her adolescent experience, when she spent a significant part of her time in a convent.
Sharon Draghi
Nested
Nested
This body of work explores interiority and the solitariness of one's inner world. Each photograph is a meditation on the passage of time and the notion of what it is to be seen. The images address the contradiction between the need to be visible and the need to shut out the world and retreat.
I use myself as a model to express feelings of erasure, which are so often felt by older women. The narratives are intentionally ambiguous and open to interpretation. While my stories are personal, they touch on ideas and themes that are universal, such as identity, aging, and the dichotomy between our public and private personas. In these domestic portraits home can be seen as a safe haven or conversely as a place of confinement. Duality is a theme I address in my work- the dichotomy between one’s interior and exterior life, and the desire to be seen or to disappear. Show more
I use myself as a model to express feelings of erasure, which are so often felt by older women. The narratives are intentionally ambiguous and open to interpretation. While my stories are personal, they touch on ideas and themes that are universal, such as identity, aging, and the dichotomy between our public and private personas. In these domestic portraits home can be seen as a safe haven or conversely as a place of confinement. Duality is a theme I address in my work- the dichotomy between one’s interior and exterior life, and the desire to be seen or to disappear. Show more
Sharon Draghi is a graduate of the International Center of Photography’s Creative Practices Program. Her work explores intimacy and the solitariness of one’s inner world. By mixing candid and staged imagery, she creates open-ended narratives taken specifically from a woman’s point of view. She is also interested in examining how environment contextualizes and illuminates our daily lives.
Carlo Rusca
248-CH
248-CH
Between 1980 and 2000, southern Switzerland—especially Ticino—saw an unusually high number of unexplained sightings linked to UFOs (now UAPs).
By the mid-'90s, with just 300,000 inhabitants, Ticino hosted three ufology centers collecting over 700 reports of encounters. A decade earlier, the Swiss Confederation had launched a secret study with the army and air force: dossier 248-CH. Recently declassified, it admits many cases remain unexplained.
Today, only CUSI remains active, along with sky-watching groups like the Orion Brotherhood in Losone, who believe the story has only just begun. 248-CH is a photographic journey into the mystery of UFOs (UAPs), tracing their presence across the skies and landscapes of Southern Switzerland.
By the mid-'90s, with just 300,000 inhabitants, Ticino hosted three ufology centers collecting over 700 reports of encounters. A decade earlier, the Swiss Confederation had launched a secret study with the army and air force: dossier 248-CH. Recently declassified, it admits many cases remain unexplained.
Today, only CUSI remains active, along with sky-watching groups like the Orion Brotherhood in Losone, who believe the story has only just begun. 248-CH is a photographic journey into the mystery of UFOs (UAPs), tracing their presence across the skies and landscapes of Southern Switzerland.
Carlo Alberto Rusca was born in Turin (Italy) on June 29, 1989.
After graduating in directing and film production from the International Academy of Audiovisual Sciences in Lugano in 2013, he continued his studies at the University of Applied Sciences and Arts of Southern Switzerland (SUPSI), where he graduated with high honors in 2014 with a thesis on the aesthetics of the human body through experimental photography.
He is currently based in Muralto (Switzerland), working as a freelance photographer and filmmaker. Since 2015, he has also been teaching photography and audiovisual sciences at CSIA, public national art school in Lugano. Show more
After graduating in directing and film production from the International Academy of Audiovisual Sciences in Lugano in 2013, he continued his studies at the University of Applied Sciences and Arts of Southern Switzerland (SUPSI), where he graduated with high honors in 2014 with a thesis on the aesthetics of the human body through experimental photography.
He is currently based in Muralto (Switzerland), working as a freelance photographer and filmmaker. Since 2015, he has also been teaching photography and audiovisual sciences at CSIA, public national art school in Lugano. Show more
Gerlinde Miesenboeck
autres
autres
Intro
My work is concerned with questions about the (extended) portrait in times of social-media-selfies, constant surveillance in contrast to the right to privacy. I investigate technology and social use of portrait photography through the use of different analogue and digital cameras, but also through manual and digital post production.
Proposal: "autres"
(french: others)
The proposed project, "autres" uses portrait photographs of "others": I ask people to sit in a photo studio and have their portrait taken. I also tell them to bring different outfits for the purpose of variation. Their pose, sitting direction and the lighting setting are the same in different places (so far Austria, Germany, but also along residencies and academic conferences in Finland and France). Show more
My work is concerned with questions about the (extended) portrait in times of social-media-selfies, constant surveillance in contrast to the right to privacy. I investigate technology and social use of portrait photography through the use of different analogue and digital cameras, but also through manual and digital post production.
Proposal: "autres"
(french: others)
The proposed project, "autres" uses portrait photographs of "others": I ask people to sit in a photo studio and have their portrait taken. I also tell them to bring different outfits for the purpose of variation. Their pose, sitting direction and the lighting setting are the same in different places (so far Austria, Germany, but also along residencies and academic conferences in Finland and France). Show more
Gerlinde Miesenböck studied photography in Austria, England and Finland and also has received a PhD in theory-and-practise-based research on photography. In the past she has been awarded many awards and grants through public and private institutions.
She has exhibited internationally on three continents, including solo and group exhibitions the Blue Coat Gallery in Liverpool/UK, the Northern Photography Center in Oulu/FI, the Central European House of Photography in Bratislava/SK, Chongqing/China, Lentos Art Museum in Linz/A, "13. Bjcem-Biennale for Young Artists of Europe and the Mediterranean", Bari/Italy, and has shown work at different Photofestivals in Vienna/AT, Lodz/PL, Kaunas/LT and Arles/F, as well as in museums such as the Lentos Art Museum Linz, the state museum of Upper Austria. etc. Show more
She has exhibited internationally on three continents, including solo and group exhibitions the Blue Coat Gallery in Liverpool/UK, the Northern Photography Center in Oulu/FI, the Central European House of Photography in Bratislava/SK, Chongqing/China, Lentos Art Museum in Linz/A, "13. Bjcem-Biennale for Young Artists of Europe and the Mediterranean", Bari/Italy, and has shown work at different Photofestivals in Vienna/AT, Lodz/PL, Kaunas/LT and Arles/F, as well as in museums such as the Lentos Art Museum Linz, the state museum of Upper Austria. etc. Show more
Caroline Heinecke
Master of Things – Defective matchsticks
Master of Things – Defective matchsticks
My submission presents The Defective Matchsticks Collection of Frieder Butzmann. Within the strict uniformity of a matchbox, the smallest deviation becomes a rupture. What appears standardized and interchangeable suddenly reveals difference.
Butzmann collects those matchsticks that fail to conform — bent, split, headless, excessive. Their flaws disrupt the silent order of repetition. The narrower the visual framework, the more radical the deviation appears.
A match is one of the simplest objects to describe. Yet once it loses its function, once it can no longer produce fire, its identity begins to waver. Is a match that cannot burn still a match or does it become something else entirely? Show more
Butzmann collects those matchsticks that fail to conform — bent, split, headless, excessive. Their flaws disrupt the silent order of repetition. The narrower the visual framework, the more radical the deviation appears.
A match is one of the simplest objects to describe. Yet once it loses its function, once it can no longer produce fire, its identity begins to waver. Is a match that cannot burn still a match or does it become something else entirely? Show more
Caroline Heinecke (b. 1986 in Nordhausen, Germany) is a Berlin-based photographer specializing in conceptual still life and documentary photography. She studied Visual Communication at Anhalt University of Applied Sciences in Dessau and later refined her artistic approach at the Ostkreuzschule für Fotografie in Berlin. Her work explores the interplay between objects, memory, and human perception, often focusing on how meaning is assigned to seemingly ordinary things. Show more
Diana Cheren Nygren
The World Needs a Superhero
The World Needs a Superhero
This series envisions young children as contemporary society’s superheroes. Superheroes have long occupied a central position in American popular culture. Society turns to superhero narratives in times of unrest as a source of hope. In the superhero narrative, right and wrong are clearly defined, and right will ultimately triumph. From generation to generation, the qualities those heroes embody have changed to reflect the best type of leader believed to confront the challenges of the moment. In this critical moment, with crises seeming to close in from every side, it can be hard to imagine any combination of qualities adequate to the task. Show more
Diana Cheren Nygren is a fine art photographer from Boston, Massachusetts. Her work explores they way humanity inhabits the environment, both natural and built, around it. Her photographs address serious social questions through a blend of documentary practice, invention, and humor.
Diana was trained as an art historian with a focus on modern and contemporary art, and the relationship of artistic production to its socio-political context. Her emphasis on careful composition in her photographic work, as well as her subject matter, reflects this training. Her work as a photographer is the culmination of a life-long investment in the power of art and visual culture to shape and influence social change. Show more
Diana was trained as an art historian with a focus on modern and contemporary art, and the relationship of artistic production to its socio-political context. Her emphasis on careful composition in her photographic work, as well as her subject matter, reflects this training. Her work as a photographer is the culmination of a life-long investment in the power of art and visual culture to shape and influence social change. Show more
Emilia Martin
The serpent's thread
The serpent's thread
As a child, I spent countless hours observing my beloved grandmother, a Polish countryside textile worker, stitching together scraps of materials into things that were new, wonderful and soft. In the same way as a storyteller weaves many elements into a tale, her textiles consisted of many fibers, many threads, and eventually, many pieces of materials. Never formally educated to write due to gender politics at the time, her textile works were her language, carrying a knowledge of generations of women before me. However, once she passed away, all her textiles, perceived as of no value, were discarded or lost.
Inspired by the missing archive of her life’s work, I began tracing other histories of women whose textiles speak where records fall silent, continuing the intergenerational legacy of weaving scraps into stories. Show more
Inspired by the missing archive of her life’s work, I began tracing other histories of women whose textiles speak where records fall silent, continuing the intergenerational legacy of weaving scraps into stories. Show more
Emilia Martin is a Polish artist and photographer based in The Hague (NL).
Rooted in the belief in the power of storytelling passed down with her ancestral heritage, Martin weaves narratives that challenge binary definitions of truth and fiction with the intersectional use of photography, writing, sound and sculpture. Through her artistic lens she navigates the landscapes of oral storytelling, myths, legends and rituals, reflecting on their roles in forming and upkeeping societal structures and ways of relating to one another as well as those more-than-human. Show more
Rooted in the belief in the power of storytelling passed down with her ancestral heritage, Martin weaves narratives that challenge binary definitions of truth and fiction with the intersectional use of photography, writing, sound and sculpture. Through her artistic lens she navigates the landscapes of oral storytelling, myths, legends and rituals, reflecting on their roles in forming and upkeeping societal structures and ways of relating to one another as well as those more-than-human. Show more
Lara Gilks
In the Care of Light
In the Care of Light
This series of ten diptychs came from encounters in nature shaped by quiet observation of inevitable change.
I like to think about liminal spaces — thresholds where the human and natural worlds meet and where stillness and light are agents for change. Working with found objects, the human form and fleeting moments of light, I explore how life forms, erodes and reconfigures.
Light moves through the images as a shared condition revealing what is easily overlooked. Rather than depicting nature as backdrop the work situates the human as entangled within evolving living systems, where transformation unfolds quietly and continuously, just beyond the limits of perception.
I like to think about liminal spaces — thresholds where the human and natural worlds meet and where stillness and light are agents for change. Working with found objects, the human form and fleeting moments of light, I explore how life forms, erodes and reconfigures.
Light moves through the images as a shared condition revealing what is easily overlooked. Rather than depicting nature as backdrop the work situates the human as entangled within evolving living systems, where transformation unfolds quietly and continuously, just beyond the limits of perception.
Lara’s photographs explore the threshold between human and more than human worlds engaging with themes of metamorphosis, mortality, stillness, and silence.
In 2025 she self published her debut book To Dust, a contemplative body of work tracing quiet connections between the body and the natural world, shaped by notions of inevitability and transformation.
Her work has received multiple awards including finalist recognition in the Kuala Lumpur Portrait Prize (2022) and the Lucie Foundation Portrait Awards (2021), and she was named Australasia’s Top Emerging Portrait Photographer in 2018. She was awarded First Prize at the Taranaki Art Awards (2023). Gilks' photography has been featured in Art New Zealand (Winter 2022) and Lenscratch (October 2025). She has exhibited widely in group shows across Europe, the States, Asia, and throughout Aotearoa New Zealand. Lara lives in Wellington, New Zealand.
In 2025 she self published her debut book To Dust, a contemplative body of work tracing quiet connections between the body and the natural world, shaped by notions of inevitability and transformation.
Her work has received multiple awards including finalist recognition in the Kuala Lumpur Portrait Prize (2022) and the Lucie Foundation Portrait Awards (2021), and she was named Australasia’s Top Emerging Portrait Photographer in 2018. She was awarded First Prize at the Taranaki Art Awards (2023). Gilks' photography has been featured in Art New Zealand (Winter 2022) and Lenscratch (October 2025). She has exhibited widely in group shows across Europe, the States, Asia, and throughout Aotearoa New Zealand. Lara lives in Wellington, New Zealand.
YosukeMorimoto
Yoyogi Park, Shibuya-ku, Tokyo
Yoyogi Park, Shibuya-ku, Tokyo
I used to take pictures of women I dated, but then we broke up and I couldn’t take pictures anymore, so instead I started calling out to women in parks and around town and taking their pictures. The expressions and vibes that women show when being photographed by strangers are similar to the ones she showed when we broke up, so I wanted to photograph them. It was a way to heal myself. I've heard that painfully sad things contain something pure and beautiful.
This photo book contains photos taken between 2006 and 2026. I started taking photos in Yoyogi Park, but then moved to Shibuya, Harajuku, Shinjuku, Ueno, Kichijoji, and Shimokitazawa, and photographed over 1,000 people. At first, I was looking for someone to take photos in place of my ex-girlfriend, but as I continued, I think I started going there to take photos for other reasons. Show more
This photo book contains photos taken between 2006 and 2026. I started taking photos in Yoyogi Park, but then moved to Shibuya, Harajuku, Shinjuku, Ueno, Kichijoji, and Shimokitazawa, and photographed over 1,000 people. At first, I was looking for someone to take photos in place of my ex-girlfriend, but as I continued, I think I started going there to take photos for other reasons. Show more
Yosuke Morimoto is a Japanese photographer based in Tokyo whose practice focuses on encounters with people in public space and the distance that remains between photographer and subject. Since the early 2000s, he has photographed women he meets in parks and on the streets of Tokyo after brief exchanges, working consistently with 35 mm film, a single-lens reflex camera, and hand-made darkroom prints. His long-term project Yoyogi Park, Shibuya-ku, Tokyo brings together portraits made between 2006 and 2023 alongside photographs of the urban environments where these encounters took place. Show more
Ludovica Bastianini
The Cruelty of Grace
The Cruelty of Grace
"Everything that is dead quivers. Not only the things of poetry, stars, moon, wood, flowers, but even a white trouser button glittering out of a puddle in the street… Everything has a secret soul, which is silent more often than it speaks." ― Wassily Kandinsky
With this work I created a poetics of the house, of dead objects, historical memories and feelings connected to them. I transformed old fabrics, clothes, doilies and threads, combining them with found ancient photos. Flea market boxes are full of wedding photos, portraits of mothers and brides, daughters, women devoted to domestic life, and, on the other side, soldiers, marines, professionals in their uniforms. Show more
With this work I created a poetics of the house, of dead objects, historical memories and feelings connected to them. I transformed old fabrics, clothes, doilies and threads, combining them with found ancient photos. Flea market boxes are full of wedding photos, portraits of mothers and brides, daughters, women devoted to domestic life, and, on the other side, soldiers, marines, professionals in their uniforms. Show more
Ludovica Bastianini, 1986, graduated in History of Art in Naples and studied photography and visual art at Idep Institute, in Barcelona (2011) and at New Academy of Fine Arts — NABA, in Milan (2015). In 2017 she was selected among the emerging talents of Circulation (s) — Festival de la Jeune Photographie Européenne, on show at the Centquatre — Paris. Since then her works have been exhibited, selected or shortlisted by many international Festivals and Prizes dedicated to emerging photographers. Show more
Morgan Ford Willingham
Notions & Impressions
Notions & Impressions
Growing up in the South shaped my personal identity and was a catalyst for rejecting implied standards of womanhood from a young age to questioning the facets of identity I now embody as a mother. This series leads me to consider how instrumental nature versus nurture is in the developing roles of parent and child, the two fluctuating between the observer and the observed. The images allude to familial intimacy and the art historical and cultural influences that shape the context of motherhood, femininity, and women’s identity. When presented collectively, these depictions present visual narratives that attest to selfhood, uncertainty, and parallels that are threaded between the two figures. Extending past the snapshot, these images record the growth of the individual and the deepening intimate connection within the familial unit. Show more
Photographic artist and educator Morgan Ford Willingham lives and works in Waco, TX, USA. She received an MFA in photography with an intermedia minor (book arts, papermaking, printmaking) from Texas Woman’s University. Her work explores pop culture and societal norms to better understand the influence on women’s identity and self-image, using an interdisciplinary practice incorporating various mediums, including photography, fiber, mixed-media, book arts, and installation. Show more
Felipe Russo
Lugar Dito
Lugar Dito
"First, space was made, everything needs a boundary. A wooden table and an immense fabric.
I remember walking through winter mornings, lost in the mist, a deep silence pierced by sounds of unseen creatures. Wings flapping, branches snapping beneath the weight of a shifting body, a cry, a song, all swallowed by whiteness, by water, by cold. Show more
I remember walking through winter mornings, lost in the mist, a deep silence pierced by sounds of unseen creatures. Wings flapping, branches snapping beneath the weight of a shifting body, a cry, a song, all swallowed by whiteness, by water, by cold. Show more
Felipe Russo (b. 1979, São Paulo, Brazil) is a photographer, publisher and educator. Russo has a degree in Biology with a major in Landscape Ecology and Conservation. In 2014 he graduated from the limited residency MFA in Photography at the Hartford Art School. For over twelve years Russo worked within cities with an interest on daily objects and architecture exploring the overlap of history, social use and personal memory found in the cities physical structures. Show more
Nadia Rodionova
Sandbox made of dust
Sandbox made of dust
After my grandmother’s death, the apartment where I spent much of my childhood was declared unsafe. The possibility of its disappearance changed how I perceive domestic space.
While traveling across the post-Soviet landscape, I entered abandoned houses and apartments that remained partially furnished. Clothing, toys, and the detached back panel of a piano were still there. In their muted palettes and worn surfaces, I recognized echoes of my grandmother’s home — spaces shaped by the same post-Soviet material culture. Show more
While traveling across the post-Soviet landscape, I entered abandoned houses and apartments that remained partially furnished. Clothing, toys, and the detached back panel of a piano were still there. In their muted palettes and worn surfaces, I recognized echoes of my grandmother’s home — spaces shaped by the same post-Soviet material culture. Show more
Nadia Rodionova (b. 1990) is an artist working with photography, 3D scanning, and object works made from everyday materials. With a background in commercial advertising photography, she shifted her focus toward personal, research-driven projects.
She is interested in how everyday environments gradually alter through time and memory, exposing an underlying duality. Her work constructs situations in which the ambivalence of the ordinary becomes perceptible, holding spaces in a state of unstable coexistence.
She has participated in exhibitions in Moscow, Tokyo and Rome.
She is interested in how everyday environments gradually alter through time and memory, exposing an underlying duality. Her work constructs situations in which the ambivalence of the ordinary becomes perceptible, holding spaces in a state of unstable coexistence.
She has participated in exhibitions in Moscow, Tokyo and Rome.
Fyodor Shiryaev
Heavenly Flocks
Heavenly Flocks
The land waits patiently, impartial as it observes a callous sprawl. I’m settled here now, without the congregation of my ancestors. My fossilized heritage appears jumbled from where I stand, but traces left behind by clumsy cousins litter the landscape. These traces—clues half buried—lie waiting to be unearthed, yet the story they tell depends on what’s desired. What myth do I construct from the few vestiges I find? What organism do I shape from a tailbone and a claw?
The land interjects, sighs, and groans, as in a fairy tale, while I surveil and dig. It reminds me, its voice moist:
"You come from me, after all…
You’re just suffering from a particularly diabolical case of amnesia." Show more
The land interjects, sighs, and groans, as in a fairy tale, while I surveil and dig. It reminds me, its voice moist:
"You come from me, after all…
You’re just suffering from a particularly diabolical case of amnesia." Show more
Fyodor Shiryaev is a photographer based in Brooklyn, New York. Born in 1996 in the U.S. to Russian parents, Fyodor spent time as a child between St. Petersburg, Russia and the U.S., before settling in New York City in his early teens. His younger years, up until his early 20s, were taken up almost exclusively by classical piano studies. Having dedicated many years to performing and competing on an international stage, he eventually, during his time at Conservatory, pivoted his focus away from music to photography. He received a B.A. in photography in 2019 from Bard College, studying under Stephen Shore, Barbara Ess, An-My Le, and Tim Davis. Show more
Ariana Zukowski
Jasmine & Gasoline
Jasmine & Gasoline
Jasmine & Gasoline reimagines the cyclical pattern of descent and return in the myth of Persephone. This time, she breaks free. These images read as her notes from paradise, tracing her escape from emotional underworlds toward a deeper sense of being at home within herself.
Photographed along coastlines and urban edges, the series portrays a charged reunion with the tender natural world. Water, light, and touch guide Persephone toward a self-defined way of being. A faint trace of pomegranate lingers, like the myth she outgrows. A beetle suggests the path of metamorphosis. A figure entering the sea marks the crossing into a self once cast aside. Show more
Photographed along coastlines and urban edges, the series portrays a charged reunion with the tender natural world. Water, light, and touch guide Persephone toward a self-defined way of being. A faint trace of pomegranate lingers, like the myth she outgrows. A beetle suggests the path of metamorphosis. A figure entering the sea marks the crossing into a self once cast aside. Show more
Ariana Zukowski is a Canadian visual artist working between the West Coast and Europe. Her practice creates photographic worlds where inner and outer landscapes blur, opening spaces to find home through imagined utopias.
Blending photography, sound, and language, she builds lyrical layers shaped by gesture, abstraction, and memory. By embracing multiplicity, her work approaches personal myth as a collective mirror, remixing form and meaning through figures, cities, and natural environments. Within a naturalistic lens, these tender futures become places to rest, transform, and return to.
Blending photography, sound, and language, she builds lyrical layers shaped by gesture, abstraction, and memory. By embracing multiplicity, her work approaches personal myth as a collective mirror, remixing form and meaning through figures, cities, and natural environments. Within a naturalistic lens, these tender futures become places to rest, transform, and return to.
Sofia Pagliaro
"I will wait you here in this land"
"I will wait you here in this land"
This project investigates the relationship between personal memory, family archives, and contemporary photographic practice. Developed between Italy and Colombia, the work reflects on how images shape our understanding of belonging, migration, and inherited narratives.
At the center of the project is a dialogue between two temporalities: archival images connected to the artist’s Colombian family history and newly produced photographs created in the present. Some of the photographs are taken digitally and depict contemporary landscapes, bodies, and everyday gestures. These images act as a visual counterpart to the archival material, creating a layered narrative where past and present continuously intersect. Show more
At the center of the project is a dialogue between two temporalities: archival images connected to the artist’s Colombian family history and newly produced photographs created in the present. Some of the photographs are taken digitally and depict contemporary landscapes, bodies, and everyday gestures. These images act as a visual counterpart to the archival material, creating a layered narrative where past and present continuously intersect. Show more
Born in Rome in 1999, I am an Italian-Colombian photographer whose work explores the social, emotional, and relational possibilities of the photographic medium. In 2021, I was awarded a scholarship to study at the Istituto Europeo di Design in Rome, where I graduated in Photography in 2024. In 2023 I participated in the IEDxRegina Coeli photography project, a workshop for inmates coordinated by Simona Ghizzoni.
My graduation project was developed inside an anti-violence center, where for two years I conducted autobiographical visual workshops with women in the process of leaving violence. This long-term collaboration shaped my approach to care-based visual practices. The project was later selected for the 4th edition of the Fotografia Calabria Festival and culminated in a collective exhibition curated by Simona Ghizzoni. Show more
My graduation project was developed inside an anti-violence center, where for two years I conducted autobiographical visual workshops with women in the process of leaving violence. This long-term collaboration shaped my approach to care-based visual practices. The project was later selected for the 4th edition of the Fotografia Calabria Festival and culminated in a collective exhibition curated by Simona Ghizzoni. Show more
claudia greco
into thin air
into thin air
"We come from nothing and vanish into nothing"
. And yet, in between, we make so much
noise.
A lingering scent. A fading glimmer. A heartbeat lost to the wind.
My camera set out to capture this existence on the edge of the precipice: the delicate
tension between fading beauty and the urge to leave a mark.
"Into Thin Air" tells the story of a group of circus artists who, despite hardship, continue to
chase wonder and vitality — a final spark before the flame fades.
Rooted in the nomadic essence of humanity, it reflects our drive to leave traces in our wake. Show more
. And yet, in between, we make so much
noise.
A lingering scent. A fading glimmer. A heartbeat lost to the wind.
My camera set out to capture this existence on the edge of the precipice: the delicate
tension between fading beauty and the urge to leave a mark.
"Into Thin Air" tells the story of a group of circus artists who, despite hardship, continue to
chase wonder and vitality — a final spark before the flame fades.
Rooted in the nomadic essence of humanity, it reflects our drive to leave traces in our wake. Show more
Claudia Greco, originally from Italy is a Berlin based freelance photographer and performative artist, working across multiple projects in the Film, Theater and Fine art industries.
After her studies in Dance and Art in Rome she moved to Germany in 2006 and began her career working internationally as a contemporary dancer both in the contemporary freelance scene and for established institutions such as Komische Oper and Deutsche Oper in Berlin.
In photography her interest lies mostly in People. Show more
After her studies in Dance and Art in Rome she moved to Germany in 2006 and began her career working internationally as a contemporary dancer both in the contemporary freelance scene and for established institutions such as Komische Oper and Deutsche Oper in Berlin.
In photography her interest lies mostly in People. Show more
Virginia Morini
Can you keep a secret
Can you keep a secret
"Can you keep a secret" is a long-term project focused on child sexual abuse. CSA has been running in my family trees since generations, poisoning many of its branches, including mine.
My approach starts from recreating the places of trauma, inviting the subjects to engage physically with the space through cathartic, almost performative actions. Guided by maieutic conversations, these encounters transform in a visual framework that reflects each person’s identity and develops a visual dimension between dream and reality; it also recalls the process our minds undergo, while recording/cancelling the trauma. Show more
My approach starts from recreating the places of trauma, inviting the subjects to engage physically with the space through cathartic, almost performative actions. Guided by maieutic conversations, these encounters transform in a visual framework that reflects each person’s identity and develops a visual dimension between dream and reality; it also recalls the process our minds undergo, while recording/cancelling the trauma. Show more
Virginia Morini (Faenza, 2000) works and experiments in multimedia arts. She explores the surreal that lays behind our reality through a documentary approach.
After studying Cinema Direction in Bologna, she graduated from the Magnum Photos & Spéos Master in Creative Documentary & Photojournalism in Paris in July 2023. During her formation, she was mentored by photographers including Antoine d’Agata, Sabiha Çimen, and other Magnum Photos members. Show more
After studying Cinema Direction in Bologna, she graduated from the Magnum Photos & Spéos Master in Creative Documentary & Photojournalism in Paris in July 2023. During her formation, she was mentored by photographers including Antoine d’Agata, Sabiha Çimen, and other Magnum Photos members. Show more
Ernesto Notarantonio
Memories of fabulous beauty
Memories of fabulous beauty
What is beauty?
Harmony, balance, proportion, but also ethics and virtue.
For the ancient Greeks, there was no aesthetic-formal beauty without a moral beauty.
Beauty along with goodness.
In the elegant, sinuous faces and bodies represented by classical sculptures, a true and timeless beauty shines through, but also a profound melancholy, like fragments of memories emerging from the past to speak to us of ourselves and our deepest selves, of the desire to achieve a perfection of body and spirit that is not inherent in human nature. Show more
Harmony, balance, proportion, but also ethics and virtue.
For the ancient Greeks, there was no aesthetic-formal beauty without a moral beauty.
Beauty along with goodness.
In the elegant, sinuous faces and bodies represented by classical sculptures, a true and timeless beauty shines through, but also a profound melancholy, like fragments of memories emerging from the past to speak to us of ourselves and our deepest selves, of the desire to achieve a perfection of body and spirit that is not inherent in human nature. Show more
Ernesto Notarantonio was born in Rome in 1967, where he lives and works.
After studying engineering, in 2007 he began studying photography at Officine Fotografiche in Rome, which led him to practice photography both as a personal pursuit and as a profession.
In 2019, he began painting, a natural evolution of his artistic journey, using and combining the two artistic practices in a continuous experimentation with alternating colors, materials, and formats, allowing for chance and the pursuit of error as an essential moment of discovery and evolution, both artistic and personal.
After studying engineering, in 2007 he began studying photography at Officine Fotografiche in Rome, which led him to practice photography both as a personal pursuit and as a profession.
In 2019, he began painting, a natural evolution of his artistic journey, using and combining the two artistic practices in a continuous experimentation with alternating colors, materials, and formats, allowing for chance and the pursuit of error as an essential moment of discovery and evolution, both artistic and personal.
Una Hunderi
The Moral of Matter
The Moral of Matter
Even though it is the desire for things that are destroying the planet we tend to form a strong attachment to all sorts of objects. This ambivalence is what I want to explore by making a collection of memento mori from my own debris of useless stuff. Things are the opposite of nature. While nature stands for what is real and what is good, things represent that which is fake, immoral, and unnatural. This is even more true when we know that it is our accumulation of and desire for things that are destroying the planet. So why do we still form such strong attachments to things, even to the useless, ugly, or mass-produced objects? With a medium format digital camera, I photograph the stuff that always create disorder, are stored away, or give you a bad conscience with their constant reminder of over-consumption, poor design, uselessness, and transience. Show more
Una Hunderi was born in 1971 in Wellington, New Zealand. She grew up in Trondheim and studied photography at the Bergen Academy of Art and Design and film at the the University of Amsterdam. She lives and works in Oslo.
She has held solo exhibitions at venues such as Kunstnerforbundet (2019), Akershus Kunstsenter (2014), Galleri Monthly (2014), Art Contemporain; Luxemburg (2008), and Galleri Brandstrup (2005, 2001). Hunderi has also participated in group exhibitions at Kristiansand Kunsthall (2020), Fotogalleriet (2016), F15 (2009, 2002), Oslo Kunstforening (2006), Haugar Vestfold Kunstmuseum (2002), Hordaland Kunstsenter (1999) and The Centre for Creative Photography in Jyväskylä (1997). Show more
She has held solo exhibitions at venues such as Kunstnerforbundet (2019), Akershus Kunstsenter (2014), Galleri Monthly (2014), Art Contemporain; Luxemburg (2008), and Galleri Brandstrup (2005, 2001). Hunderi has also participated in group exhibitions at Kristiansand Kunsthall (2020), Fotogalleriet (2016), F15 (2009, 2002), Oslo Kunstforening (2006), Haugar Vestfold Kunstmuseum (2002), Hordaland Kunstsenter (1999) and The Centre for Creative Photography in Jyväskylä (1997). Show more
Arturo Martinez-Steele
Fractures: Cartographies of Impact
Fractures: Cartographies of Impact
Fractures is a long-term photographic project examining damaged yet functioning vehicles as material traces of urban life. Developed primarily during my years living in Los Angeles—a city structured around automobile dependency—the series explores how mobility, endurance, and adaptation become inscribed on the surfaces of everyday objects.
Rather than treating these vehicles as evidence of accident or neglect, the project approaches them as accidental sculptures shaped by impact, repair, and continued use. Dented metal panels resemble shifting terrain, fractured surfaces read like cartographic lines, and exposed mechanical interiors evoke anatomical structures. Through close observation, a moment of rupture becomes suspended in stillness. Show more
Rather than treating these vehicles as evidence of accident or neglect, the project approaches them as accidental sculptures shaped by impact, repair, and continued use. Dented metal panels resemble shifting terrain, fractured surfaces read like cartographic lines, and exposed mechanical interiors evoke anatomical structures. Through close observation, a moment of rupture becomes suspended in stillness. Show more
Arturo Martínez-Steele is a Spanish-American visual artist working with photography and video. After nearly two decades living and creating between Berlin and Los Angeles, he is currently based in Catalonia. He studied Fine Arts at the Universidad Complutense de Madrid and the Universität der Künste Berlin.
His practice is rooted in long-term observation of urban environments and focuses on overlooked material traces shaped by use, damage, and improvised repair. Moving between abstraction and documentary, his work transforms everyday surfaces into landscapes, cartographies, and bodily forms, exploring the coexistence of rupture and stillness. Show more
His practice is rooted in long-term observation of urban environments and focuses on overlooked material traces shaped by use, damage, and improvised repair. Moving between abstraction and documentary, his work transforms everyday surfaces into landscapes, cartographies, and bodily forms, exploring the coexistence of rupture and stillness. Show more
Kinga Wrona
"85"
"85"
When it comes to question about how the volcanos work, practically
everything is a mystery. Signals may appear before the eruption, but
it is never certain it will occur. It is almost impossible to determine
the time when the eruption starts and the moment when magma becomes
unstable or predict the intensity of eruption. Volcanoes symbolize
the duality of destructive force and the new beginning. Spanish
Canary Island, la Palma, only exists because of volcanic eruption built
this land long time ago, forming the archipelago known as the Canary
Islands. In 2021, during 85 days the volcano Cumbre Vieja on La Palma
has been active. Show more
everything is a mystery. Signals may appear before the eruption, but
it is never certain it will occur. It is almost impossible to determine
the time when the eruption starts and the moment when magma becomes
unstable or predict the intensity of eruption. Volcanoes symbolize
the duality of destructive force and the new beginning. Spanish
Canary Island, la Palma, only exists because of volcanic eruption built
this land long time ago, forming the archipelago known as the Canary
Islands. In 2021, during 85 days the volcano Cumbre Vieja on La Palma
has been active. Show more
Polish documentary photographer living in Krakow (south of Poland). In her latest and ongoing works she explores the relationship between human and nature in aspect of climate change, natural disaster or environmental degradation. She is an artist selected as finalist of Paris Photo Carte Blanche in 2024 and nominated to FUTURES in 2023 by Fotofestiwal in Lodz. In 2026 she has been choosen as one of the winners of Female in Focus by British Journal of Phptography. Her works have been exhibited, among others, during: Festival Circulacion (S) 2023 Paris (France); Show more
KUMON Kentaro
Smoke and Steam
Smoke and Steam
Photographs are not taken only by photographers; they are also taken by the machines they use—the cameras themselves. These images were made by me, but they are also images captured by a particular camera. It is a camera my father gave me more than twenty years ago, when I first became interested in photography.
During the COVID-19 pandemic that began in 2020 and continued for several years, my father gradually stopped going outside and began to show signs of decline. The person he once was slowly faded away. Now he spends his days quietly gazing out the window without speaking. I still carry a sense of guilt that there was little I could do for him during those years. Show more
During the COVID-19 pandemic that began in 2020 and continued for several years, my father gradually stopped going outside and began to show signs of decline. The person he once was slowly faded away. Now he spends his days quietly gazing out the window without speaking. I still carry a sense of guilt that there was little I could do for him during those years. Show more
Born in 1981. He has been creating works on the theme of "the contact point between people and nature. His works include "Cultivators," which depicts the daily lives of people involved in agriculture throughout Japan; "Koyomigawa River," which examines the connection between rivers and people; and "Topography of Light," in which he travelled to a peninsula and photographed the ancient climate and lifestyle of Japan. Show more
Ieva Saudargaitė Douaihi
Dictionary of the past and prsent self
Dictionary of the past and prsent self
Dictionary of Past and Present Self is a visual and material exploration of memory, identity, and the material traces that connect who we were with who we are. Through a hybrid practice that intertwines photography, organic materials, text, and sculptural objects, the series investigates how personal histories are embedded in the physical world: held in surfaces, surfaces altered, marks that accumulate, and the fragile relics of experience.
Drawing on vintage photographs, personal ephemera, and natural elements, each work in the series functions like a lexical entry: a fragment, a clue, a resonance between past and present. Photographs are re‑woven with stitched threads, layered with organic matter, or embedded into objects that carry their own histories. Through these processes, the series collapses temporal distance, collapsing moments into one another to reveal patterns of persistence, transformation, and intensity. Show more
Drawing on vintage photographs, personal ephemera, and natural elements, each work in the series functions like a lexical entry: a fragment, a clue, a resonance between past and present. Photographs are re‑woven with stitched threads, layered with organic matter, or embedded into objects that carry their own histories. Through these processes, the series collapses temporal distance, collapsing moments into one another to reveal patterns of persistence, transformation, and intensity. Show more
Ieva Saudargaite Douaihi is a transdisciplinary artist working at the intersection of photography, architecture, and material research. Rooted in an ongoing exploration of vernacular landscapes, memory, and overlooked ecologies, her practice spans image-making, spatial interventions, and hybrid objects composed of found objects, natural matter and household materials. Drawing on her background in architecture and a deep sensitivity to ecological and social entanglements, she engages with overlooked spaces and slow processes of growth, decay, and adaptation. Show more
Benji Freeman
Digital Cadavers and their Afterlives
Digital Cadavers and their Afterlives
This is a series of photographs I constructed from images in the National Institute of Health’s Visible Human datasets, which are full color cross-sectional photographs of two frozen cadavers made in the 1990s. They serve as the basis for early digital 3D models of the body, as well as cutting-edge modern research projects. To me, they raise urgent questions about how photography can extract knowledge from the medicalized human body. Do the images themselves — where it’s hard to identify specific body parts without special training — provide any human understanding, or is it reserved for the virtual world? What is the cost of this type of archive, the transmutation of the body into images, and the digital immortality that results from it? They seem to preempt contemporary concerns about the digital body, anonymity, and the overall strangeness of being intimately known by machines. Show more
Benji Freeman is a photographer, visual artist, and physician based in New York City. His photography pulls from medical epistemologies, techniques, and image archives. As the actual work of healthcare becomes increasingly automatable, and as the understanding of human suffering is further abstracted to machines, he aims to investigate the aesthetics of caring for others in the modern world.
He has taught workshops on photographic technique, the visual culture of medicine, and the anatomy of the visual system, and he has written about the role of photographic perception in medical education. Benji earned degrees in chemistry and visual arts from Princeton University in 2021, where he also received the Wolfen Senior Thesis Award and the Lucas Award in Visual Arts. He graduated from Columbia Medical School in 2026 and is pursuing a residency in ophthalmology.
He has taught workshops on photographic technique, the visual culture of medicine, and the anatomy of the visual system, and he has written about the role of photographic perception in medical education. Benji earned degrees in chemistry and visual arts from Princeton University in 2021, where he also received the Wolfen Senior Thesis Award and the Lucas Award in Visual Arts. He graduated from Columbia Medical School in 2026 and is pursuing a residency in ophthalmology.
Nyo Jinyong Lian
Trust me
Trust me
Trust Me is a series of staged photographic fables exploring how invisible pressures shape intimacy, behavior, and perception. Working across China, France, and the United States, Nyo Jinyong Lian constructs semi-fictional environments in which controlled gestures, mirrored actions, and suspended movements reveal trust as something negotiated rather than given.
Domestic objects and everyday routines become sites of tension and quiet entrapment — a head obscured, a body held in place, an action interrupted mid-gesture — exposing how social expectations are internalized as restraint, vigilance, or fatigue. Drawing on the uncanny and the absurd, the images feel both familiar and subtly disorienting, transforming ordinary situations into psychological traps. Show more
Domestic objects and everyday routines become sites of tension and quiet entrapment — a head obscured, a body held in place, an action interrupted mid-gesture — exposing how social expectations are internalized as restraint, vigilance, or fatigue. Drawing on the uncanny and the absurd, the images feel both familiar and subtly disorienting, transforming ordinary situations into psychological traps. Show more
Nyo Jinyong Lian is a visual artist working across staged photography and moving image, based in Paris. Her practice investigates how trust, intimacy, and belonging are constructed under conditions of uncertainty. Treating fiction as a form of social architecture, she creates meticulously choreographed encounters that function as speculative models for alternative ways of living together.
Drawing on diasporic experience and feminist genealogies, Lian constructs semi-fictional worlds in which the body becomes a site where power, vulnerability, and mutual dependence are negotiated. Her images often present calm, rational surfaces disrupted by subtle gestures that introduce ambiguity or latent instability. Show more
Drawing on diasporic experience and feminist genealogies, Lian constructs semi-fictional worlds in which the body becomes a site where power, vulnerability, and mutual dependence are negotiated. Her images often present calm, rational surfaces disrupted by subtle gestures that introduce ambiguity or latent instability. Show more
Gideon Yeehun Tsang
Because We Fall
Because We Fall
Standing before my father’s gravestone, I found myself fixated on the small dash between two dates—1943−2024. In that hyphen lay everything: every hope, every disappointment, every moment of transcendence and simplicity that constituted a human life.
This work takes its title from a Japanese death poem: "Flowers are flowers because they fall." The paradox is essential—beauty exists precisely because of impermanence, not in spite of it. What we witness, what arrests us, what makes us ache with attention, is the moment before dissolution. Show more
This work takes its title from a Japanese death poem: "Flowers are flowers because they fall." The paradox is essential—beauty exists precisely because of impermanence, not in spite of it. What we witness, what arrests us, what makes us ache with attention, is the moment before dissolution. Show more
I’m Gideon Tsang (he/him), a fine art photographer born in Saskatoon, Canada in 1974, based in Austin, Texas. Originally trained in the contemplative traditions of spiritual leadership, I led communities in Austin for 25 years before becoming a full-time artist — a transition that didn’t change my practice so much as reveal it.
My photographs are large-scale, painterly images made entirely through in-camera techniques without digital manipulation, blurring the boundaries between photography and painting. My work has been exhibited internationally in Italy and Canada and in galleries throughout Texas. I have done commercial work for clients including Rapha and Garrett Leight, and my photographs are held in private collections nationally. Show more
My photographs are large-scale, painterly images made entirely through in-camera techniques without digital manipulation, blurring the boundaries between photography and painting. My work has been exhibited internationally in Italy and Canada and in galleries throughout Texas. I have done commercial work for clients including Rapha and Garrett Leight, and my photographs are held in private collections nationally. Show more
Mischa Lluch
Fading
Fading
Fading unfolds as a visual meditation on the fragility of dreams—those woven around the idea of home, belonging, and the future. The suburban landscape of the American West—familiar, functional, repetitive—becomes the stage for a slow dissolution: the unraveling of a promise that no longer holds. Here, the narrative of progress quietly evaporates, leaving behind a melancholic atmosphere and a diffuse texture of loss.
This project does not arise from a need to document, but from a desire to trace what could not be saved. Each image questions the cracks in what once seemed solid. It offers no answers, only places where the eye can linger. The series is shaped by an acute awareness of void and fracture: quiet ruptures, suspended time, and mysteries that elude the mind. The work maps an emotional geography of absence—a cartography of margins, stillness, and landscapes where solitude is not anecdotal but structural. Show more
This project does not arise from a need to document, but from a desire to trace what could not be saved. Each image questions the cracks in what once seemed solid. It offers no answers, only places where the eye can linger. The series is shaped by an acute awareness of void and fracture: quiet ruptures, suspended time, and mysteries that elude the mind. The work maps an emotional geography of absence—a cartography of margins, stillness, and landscapes where solitude is not anecdotal but structural. Show more
I was born in Madrid and grew up on film and television sets, which fueled my passion for visual storytelling. My professional journey began by assisting photographers, which laid the foundation for my career behind the camera. Over the years, I honed my skills in various roles within the camera department for film and advertising, eventually establishing myself as a director of photography. Show more
Katerina Andriuscenco
The Weight of Becoming
The Weight of Becoming
This project investigates the psychological space of transition — the fragile interval between collapse and renewal.
Combining photographic archives from 2021−2022, paper sculptures created during a period of personal recovery, and new images produced in 2025, the work unfolds as a visual timeline of transformation. Each layer reflects a different emotional landscape: disorientation, reconstruction, and eventual acceptance. Show more
Combining photographic archives from 2021−2022, paper sculptures created during a period of personal recovery, and new images produced in 2025, the work unfolds as a visual timeline of transformation. Each layer reflects a different emotional landscape: disorientation, reconstruction, and eventual acceptance. Show more
Ecaterina Andriuscenco (b. 1988, Tiraspol, Transnistria) is a Berlin-based photographer and visual artist currently studying sculpture at Kunsthochschule Berlin-Weißensee. Originally trained as an architect, her practice combines photography, archival imagery, and sculptural materials to explore memory, perception, and states of transition.
Her work has been exhibited internationally, including Invisible Lines at Alte Münze, Berlin (2025) during EMOP and Sense of Safety at Yermilov Centre, Kharkiv (2024). She received an Honorable Mention at PX3 Prix de la Photographie Paris (2023) and was selected among the Top 5 of Nikon Female Facets (2024). Show more
Her work has been exhibited internationally, including Invisible Lines at Alte Münze, Berlin (2025) during EMOP and Sense of Safety at Yermilov Centre, Kharkiv (2024). She received an Honorable Mention at PX3 Prix de la Photographie Paris (2023) and was selected among the Top 5 of Nikon Female Facets (2024). Show more
marvin dreblow
Naturzustand
Naturzustand
Which expectations and standards do we have towards spaces we call nature? The idea for this series came to me while reading the anthology "Naturphilosophie" (edited by Thomas Kirchhoff). In one chapter, he describes that perceiving nature is no mental representation of an observer independent, and simply existing object (as in the perception of a pebble stone or a bird), but instead that a landscape is mentally created by a spectator from extramental things. Show more
Marvin Dreblow is a German visual artist who was raised in Lower Saxony’s countryside, the Wendland, and moved for his studies in fine arts to Bremen some years ago. For his work, his main interest lies in his own subjective and the society’s relationship to spaces and things we identify as nature. He mainly uses photography to document his thoughts and perceptions.
Amelia Lancaster
Abstractions: Studies of the Southbank
Abstractions: Studies of the Southbank
I have been photographing the Southbank and National Theatre since 2003. My training in architecture and set design, combined with an appreciation of early twentieth century art, have influenced my work.
My practice invites the viewer to think about the process of visual perception and how we abstract architectural form. I search for geometries on the facades that are revealed as the light moves around the different angled planes of concrete. Show more
My practice invites the viewer to think about the process of visual perception and how we abstract architectural form. I search for geometries on the facades that are revealed as the light moves around the different angled planes of concrete. Show more
Amelia Lancaster originally trained as an architect and set designer. She won a national set design competition to work at the BBC and worked as an art director before becoming an artist and photographer. Her first solo exhibition at the Wolfson Gallery, National Theatre ‘Abstractions: Studies of the National Theatre' was featured in The Observer and The Architect’s Journal and was also exhibited at the LFA Photo Awards in Porto.
From 2017−2021 she was Artist in Residence for the London Borough of Brent on The South Kilburn Housing Estate documenting the urban transformation of the area during a period of regeneration through access to the empty blocks, demolition, and construction sites. Recent work from these endeavours was exhibited at The London Festival of Architecture and The Royal Academy Summer Exhibition. Show more
From 2017−2021 she was Artist in Residence for the London Borough of Brent on The South Kilburn Housing Estate documenting the urban transformation of the area during a period of regeneration through access to the empty blocks, demolition, and construction sites. Recent work from these endeavours was exhibited at The London Festival of Architecture and The Royal Academy Summer Exhibition. Show more
Dane Murner
You Left Your Choices Behind
You Left Your Choices Behind
This body of work examines environments shaped by human presence while withholding the people who shaped them. The photographs focus on spaces influenced by decision: objects placed, surfaces worn, areas arranged or neglected, traces left behind through habit, convenience, or indifference. Every element within the frame is the result of a choice, whether conscious or unconscious, deliberate or incidental. Each scene is the accumulation of actions made by individuals whose histories, experiences, and motivations remain inaccessible to me. I am not interested in revealing who these people are or explaining why they have acted as they have. Instead, the work preserves their unknowability. The images hold evidence of lives that are undeniably present yet fundamentally unreachable. Show more
Dane began photographing in 2014 after moving to Vancouver, initially using the medium to document and share his new environment with family in Manitoba. Over time, his practice has shifted from a documentary approach focused on subject matter, to an interest in photography as an autonomous artistic act. His work explores how photographs spark imagination without relying on staging, manipulation, or constructed scenes. Show more
Ingrid Weyland
Topographies of Fragility
Topographies of Fragility
I have journeyed from the south of Argentina to Greenland’s ice sheet in search of landscapes with a particular mood and beauty, unspoiled landscapes, almost surreal. They resemble places that have never been inhabited, solitary, where the immensity reveals itself, and where I have lived experiences of intimate connection with this isolated nature, almost like a private sanctuary.
It was on a return trip to Iceland that I was overwhelmed by the changes that had taken place since my first visit in 2015. I noticed with sadness how people failed to stick to regulations, not respecting boundaries, and it had started to show in the landscape. Show more
It was on a return trip to Iceland that I was overwhelmed by the changes that had taken place since my first visit in 2015. I noticed with sadness how people failed to stick to regulations, not respecting boundaries, and it had started to show in the landscape. Show more
Argentinian artist Ingrid Weyland was inspired to study graphic design, given her exposure to architecture and sculpture, as well as her passion for manipulating form and composition. Following her studies at the University of Buenos Aires (UBA), she set up her own practice, BW Design. Photography and image creation captured her imagination, and by 2011, she dedicated herself to perfecting her craft through workshops with Ana Sánchez Zinny, Angela Copello, Fabiana Barreda, Julieta Escardó, Juan Brath, Proyecto Imaginario, and Verónica Fieiras, among others. Her practice evolved from portraiture to an immersive exploration of pristine landscapes across several continents. Show more
Tommaso Sacconi
Therapy
Therapy
I am a collector.
Ever since I can remember, I have been collecting everything, particularly my own things as a sort of memorial. Saving every single object is for me the first step of a possible collection: notebooks, cans, stuffed animals, receipts, batteries, or parts of myself like teeth, hair, and nails, just to mention some of them.
To keep and catalog objects has always given me pleasure. It started with me collecting memories and things that I was emotionally attached to, and it developed into an obsession to pile up ordinary objects in series. The only complication I have is the space. Collecting requires a lot of physical and mental space, which led me to find ways to let things go. Show more
Ever since I can remember, I have been collecting everything, particularly my own things as a sort of memorial. Saving every single object is for me the first step of a possible collection: notebooks, cans, stuffed animals, receipts, batteries, or parts of myself like teeth, hair, and nails, just to mention some of them.
To keep and catalog objects has always given me pleasure. It started with me collecting memories and things that I was emotionally attached to, and it developed into an obsession to pile up ordinary objects in series. The only complication I have is the space. Collecting requires a lot of physical and mental space, which led me to find ways to let things go. Show more
Tommaso Sacconi is a photographer and filmmaker with a Master’s degree in Emergency Architecture and International Cooperation. After his studies between Rome and Barcelona he moves to Egypt collaborating with an NGO and then to New York where he currently lives and works.
His personal long-term photographic projects adopt a serial approach, with research and repetition forming the essence of his work. His practice frequently explores existential themes such as memory and identity. Show more
His personal long-term photographic projects adopt a serial approach, with research and repetition forming the essence of his work. His practice frequently explores existential themes such as memory and identity. Show more
iamhay
Pretty, Please!
Pretty, Please!
Pretty, Please! is a photographic inquiry into the subtle, often overlooked dynamics that shape our desire to be seen — not merely looked at, but truly noticed. In this project, the familiar imperative "pretty please" is refracted through the language of images: a gesture at once intimate and performative, polite yet urgent, asking not just for attention but for permission to exist within another’s gaze.
At the core of my practice is the notion that photographs are not passive mirrors of reality, but active objects — devices that shape how we understand memory, emotion, and presence. With Pretty, Please!, I extend this exploration into the realm of social negotiation: how do we, as makers and subjects of images, navigate between vulnerability and assertion, between the polished surface and the unspoken context? Show more
At the core of my practice is the notion that photographs are not passive mirrors of reality, but active objects — devices that shape how we understand memory, emotion, and presence. With Pretty, Please!, I extend this exploration into the realm of social negotiation: how do we, as makers and subjects of images, navigate between vulnerability and assertion, between the polished surface and the unspoken context? Show more
Hayun Chun (b. 1998) is a lens-based artist exploring the intertwined relationships between people, products, and photographs. With a background in Product Design, she approaches images as active objects rather than mere representations—things that shape how we understand reality, memory, and ourselves. Her work moves fluidly across photography, objects, and AI-generated imagery, examining how meaning is constructed through our encounters with images and things. Show more
Simone Padelli
The Path and The Labyrinth
The Path and The Labyrinth
"In girum imus nocte et consumimur igni"
The palindromes Latin line, whose translation is ‘we wander around in the night and the fire consumes us', recedes on itself, built letter by letter as a labyrinth, perfectly represents the form and content of ‘perdition'.
The phrase certainly has very ancient roots, its attribution, even if there is no evidence, could date back to Sindonio Apollinare. The definition could be related both to moths, which, attracted by the light of a fire, end up killing themselves; or to torches, which are consumed by burning in the night. Show more
The palindromes Latin line, whose translation is ‘we wander around in the night and the fire consumes us', recedes on itself, built letter by letter as a labyrinth, perfectly represents the form and content of ‘perdition'.
The phrase certainly has very ancient roots, its attribution, even if there is no evidence, could date back to Sindonio Apollinare. The definition could be related both to moths, which, attracted by the light of a fire, end up killing themselves; or to torches, which are consumed by burning in the night. Show more
I’m a photographer and artist based in Tuscany.
I work mainly in the field of Fashion and Architecture.
The main theme of my photographic research is the anthropic and humanized environement.
My work questions how reality can be perceived, described or tricked throughout the image.
I live photography as a very intimate and meditative experience of connection between me, the environment and the others.
Website
I work mainly in the field of Fashion and Architecture.
The main theme of my photographic research is the anthropic and humanized environement.
My work questions how reality can be perceived, described or tricked throughout the image.
I live photography as a very intimate and meditative experience of connection between me, the environment and the others.
Website
Ilias Lois
An Unfinished House Has Many Views
An Unfinished House Has Many Views
This series of images refers to the challenging process of securing a home, a safe space in a European country of constantly rising rents and gentrification. It is a long-term process shaped as much by memory and emotions as by bricks and beams. Based on his childhood memories of his parents building their family home, as well as stories from relatives who lived through the difficult conditions of the post-dictatorship period in Greece, the photographer reflects on how home is less a fixed place and more a constantly changing negotiation. Several of the photographs borrow the explanatory style of a manual from a large furniture chain, with the difference that here the manual is broken. Instead of offering polished images of completion, the photographs focus on the in-between: unfinished rooms, corners filled with intentions, gestures of care and improvisation. The work embraces imperfection and reexamines what it means to inhabit, build, and belong.
Ilias Lois (b. Athens) is an artist whose work considers the notion of home, life in European urban centers, and the materiality of objects and technologies. His practice pays particular attention to the act of translating the three-dimensional world into two-dimensional surfaces—and the reverse process that may follow. He is especially drawn to photographic sequencing and the possibilities of non-linear storytelling. Show more
Form Photo Award 2026 Jury
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Sven Eisenhut-Hug__________Co-Founder and Founding Co-Director of Art Salon Zürich, and the Director and Co-Founder of photo basel GmbH—Switzerland's first international art fair dedicated exclusively to photography. Held annually during Art Basel week, photo basel features approximately 40 international galleries showcasing a wide range of photographic practices and artists. Under Eisenhut-Hug’s leadership, the fair has successfully expanded to Berlin and Miami, becoming a pivotal event on the international art calendar. Widely regarded as one of the most influential figures in photography
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Elwira Spychalska__________Art historian specializing in modern art and photography. She has been part of photo basel for the past eight years and has served as the fair’s curator for its tenth edition. In addition to her curatorial work, she has collaborated with other art fairs such as Art Salon Zurich and works in art museums in Basel, where she continues to engage with contemporary art practices. Her passion lies in creating meaningful encounters between artists, collectors, institutions, and audiences — supporting photography in all its diverse forms and contexts
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Dimitri Bogachuk__________Founder of Form. Gallery / Publishing / Magazine - co-founder of Photo Kyiv Fair, artist and curator he graduated from the National Academy of Culture and Arts in Kyiv, where he majored in art expertise. Numerous of photography educational programs he share his experience to audience and create a powerful base and ecosystem for young talented wave of young photographers - some of them now established photographers exhibited in galleries, museums, fairs around the world, including Fotografiska and Center Pompidou, Paris.
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