Yvonne De Rosa

Graduated in Political Science, she moved to London to study photography (PG in Photography at Central Saint Martins College and MA in Photo Journalism at the London College of Communication.) since then she lives and works between Italy and uk. In 2015 she founded "Magazzini Fotografici": no profit, urban regenerated space, dedicated to visual culture, while continuing her own personal photo researches.

Inquisita The project, initially born from a workshop with young people from the penal system and later developed independently, led—over the course of conversations—some participants to recognise a parallel between their own experience and that of Artemisia Gentileschi. The painter, a victim of sexual violence and the central figure in a famous seventeenth-century trial, has over time become an icon of resistance and of the struggle to assert one’s rights—issues that, albeit in different proportions, remain urgent all over the world today. This work inhabits a liminal space, where archive and staging, document and invention, do not oppose but rather engage in dialogue. The past acts as a catalyst, igniting new readings and reflections in the present. The archival images from the 1970s, re-photographed in details by the artist, clearly show men speaking and men listening. They are not reportage: they are the representation of an order of power, of a structure which, though altered in form, still persists today—a visual map of power that spans eras and contexts, taking on different faces yet remaining recognisable.

Raphaël Garsault

Still life photographer working between Paris and Bourges, France. His work explores the tactile, ambiguous qualities of everyday materials, often assembling them into hybrid objects that seem to belong to no clear time or place. His background in fashion informs an almost forensic attention to texture and imperfection. His images resemble artifacts — strange specimens that evoke both memory and mutation. They form a taxonomy of the overlooked, where discarded materials take on the weight of something remembered but never known.

'Scraps' is a visual fiction set in a world without humans, where others try to reconstruct what might once have been sacred to us. I collect what the city sheds (textiles, industrial waste, discarded bouquets, worn or broken objects...) and reassemble it into hybrid forms, somewhere between artefacts and organisms. Each piece responds differently to light. Some call for the depth and absorption of black, others demand the exposure and dissection of white. This duality is central to the work: the same imagined world seen through two kinds of space, one enveloping and obscure, the other harsh and almost clinical. My process is empirical, inspired by Issey Miyake’s philosophy of 'listening' to matter. I fold, stack, and test until the materials suggest their own form, following the grain of light as one would follow the grain of fabric or wood. In this fictional archaeology, each piece carries a trace of its real origin: street finds, market remnants, objects rescued from bins. Born from what is left behind, they resist the speed and instant readability of our visual culture. They exist somewhere between our urge to categorize and our child-like instinct to simply experience.

Alice Elizabeth Harris

Alice Elizabeth Harris is an Oxford-born and California-raised artist, currently residing in London while working across London, New York, and Los Angeles. She credits her upbringing in both England and the United States as a key influence on her creative practice. Her work draws inspiration from her experiences living in the modern-day Western world, as well as from the film and television cultures of both countries, blending these influences into her distinctive artistic style.​

Three photographs from Alice Harris' upcoming solo exhibition "The Show Must Go On", opening in London this October.

Valentin Fougeray

Valentin Fougeray is a visual artist and photographer whose work explores a poetic language where color becomes both subject and vocabulary. Trained in architecture before studying photography at Gobelins in Paris, his practice bridges structure and sensibility. His early series, such as Balance, featured ephemeral installations that played with ambiguous materiality, exploring the threshold between the real and the imaginary. Over time, his work evolved towards abstraction, favoring suggestion over narration. In 2023, he created Chantal, a tribute to his grandmother affected by Alzheimer’s disease. Through blurred tones and nearly vanishing floral forms, the series becomes a visual meditation on memory, loss, and the echoes of what fades. Fougeray treats photography as a sculptural, sensory space—freed from documentary codes—where the absence of a fixed subject invites personal projection. Color and form serve as emotional triggers, opening fragile spaces of reminiscence. His work inhabits the in-between: perception, memory, and emotion converge into a floating, intuitive presence that speaks to the deeply human experience of forgetting and remembering.

«Even the clearest of our memories have somewhat blurred edges.» There is a complex relationship between photography, memory and truth. The image appeals to both collective and individual memory. But what happens when this memory fades away, when the contours of memories become blurry? What remains of people whose memory is eroding? Do their memories become fuzzy shapes with multiple colors? A sort of retinal persistence whose outlines are gradually fading? In memory, there is an abstract and imperfect representation of what is experienced. It is not uncommon to keep the best, sometimes the worst, only an image, a feeling or even an atmosphere. Nevertheless, what remains is tied to the thread of our emotions, which in turn remind us of our memories. By absorbing the details, the specificities that guide the gaze, images stimulate thought and question meaning. The image becomes the property of the individual who looks at it. A path of thought that is difficult to control and that gives room for individual emotions and sensations. Isn’t memory, fundamentally, the imagination of a real situation?

Marta Syrko

Marta Syrko is an artist who works in various mediums and techniques to explore the intersection between art history, social issues, and the human body. As a photographer and art director, she uses her skills to create fine art photographs that are visually stunning and thought-provoking. Her conceptual correlations with art history suggest that she is interested in how the past informs the present, and how we can learn from the artistic traditions of previous generations. Additionally, her use of portrait photography to address social issues indicates that she is also engaged in exploring contemporary concerns and questions surrounding identity, representation, and the body. By investigating the human body as a marker of identity in its imperfection, she is likely challenging conventional notions of beauty and perfection, and highlighting the diversity and complexity of human experience. Overall, Marta Syrko is an artist who is deeply committed to exploring the many facets of the human condition through her work, and who uses her skills and talent to create powerful, thought-provoking art. Marta Syrko's experiences as a Ukrainian artist living in Amsterdam have inspired her to use her platform to raise awareness of the conflict and turmoil taking place in her home country. Her collaboration with the Dutch National Opera & Ballet suggests that she is using her artistic skills to address these issues in a creative and impactful way.

Composed of twelve newly commissioned photographs, the series captures the profound ramifications of war, the unwavering resilience of the Ukrainian people, and their extensive cultural heritage. Against the backdrop of Russia's invasion, Syrko confronts the harrowing traumas inflicted upon her homeland, striving to ignite awareness and remembrance. Commissioned expressly for this exhibition, her poignant imagery serves as a testament to the ongoing struggle of safeguarding Ukrainian cultural patrimony and artistic traditions amidst the turmoil of military conflict. Syrko's creative process involves altering her photographs by digitally enhancing details and colors. She divides her series into two categories to address Ukraine's past and present. The Historic Era captures wrapped outdoor, public monuments located within a UNESCO World Heritage Site, commemorating Ukraine's rich, cultural past. The Contemporary Era features recently created sculptures by fellow friends and artists, wrapped and photographed in an intimate studio setting. Syrko's work highlights her belief that protecting both past and present are necessary for Ukraine's cultural future.

Lana Ross

Rosslana Damyanova is an emerging Bulgarian photographer whose artistic journey began in early childhood, rooted in a deep curiosity for the many layers of visual and emotional expression. Later, she was involved with the experimental theatre troupe Alma Alter. In 2021, Rosslana began her formal education in photography, marking a turning point in her creative evolution. Her work has since gravitated toward documentary and conceptual narratives that illuminate real-life experiences while provoking reflection on social issues and human values. With a style that delicately balances classical documentary tradition and refined aesthetic sensibility, she brings intimate, human-centered stories to life. Her first long-term documentary project, Soap Flower, is a deeply personal exploration of family connections. The series was published in Caption Magazine in 2023, exhibited in Sofia in 2024, and selected as a finalist at the XXIII Seminario de Fotografía y Periodismo in Spain. Soap Flower was also nominated for participation at the Revela’t Festival in Barcelona. Rosslana's second ongoing project, Jinn, examines the phenomenon of sleep paralysis in the context of contemporary psychological stress. It was nominated for inclusion in the OFF program of the prestigious Rencontres d'Arles photography festival in 2025, as part of a collective exhibition.

“Soap Flower” is a photographic story about the complex relationships within a family. The project is inviting us to pause our gaze at the future, to overcome the fears of today, and to return to our roots. Although it may seem simple, this journey often confronts us with emotional memories, unspoken words, and forgotten connections. The photographer builds a bridge to her grandmother, whom life separated her from long ago, through the means of visual storytelling. Aware that time cannot be reversed, she sets off one day to a small village in the Rhodope Mountains, carrying feelings of guilt and longing for forgiveness. “You won’t find her at home; she’s always climbing hills or work- ing in the fields,” the villagers tell her. And they are right after a long search, the two finally meet. At first, her grandmother doesn’t recognize her, but suddenly a warmth glimmers in her eyes, and the winter day comes to life. Soap flowers are mountain plants that were once used to wash hands after picking tobacco. However, they can also symbolize an emotional purification of the soul and a return to genuine human relationships. Though sometimes filled with misunderstanding and silence, these connections hold a depth and meaning that only past can reveal.

Hanna Lautreamont

Born in eastern Ukraine in 1991. Having graduated with a master’s degree in languages and the history of Western literature, I worked as a lecturer in Western literature at the university for three years before deciding to follow a childhood dream and lifelong hobby - photography. Due to the full-scale invasion of Ukraine in 2022 I relocated to London. Less than a month later, I started internship at a darkroom photo lab, where I acquired analogue skills such as darkroom printing and film processing. Currently working on personal projects and honing skills in photogravure, alternative printing, and other hands-on analogue techniques.

This series of photogravures and silver gelatin prints traces the arc of fully hand-crafted image-making, from the alchemy of light on film to the tactile depth of the print on Fabriano paper. The processes reveal not just an image, but the ghost of its becoming. The grain on film becomes texture on paper, shadows become etchings, silver becomes memory. Within this handmade framework unfolds a theatre of mystery. Figures caught in poses that hover between reverie and performance, objects plucked from dreams, garments that may be costume and skin at once. The compositions evoke the chance encounters and disquieting beauty that Comte de Lautréamont likened to “the meeting on a dissecting table of a sewing machine and an umbrella”. They lean into the absurd yet elegant juxtapositions of surrealism. Each frame becomes a room in an uncharted hotel, its doors half-open to scenes both intimate and impossible. Time folds in on itself – the image is neither of the past nor the present, but a suspended moment. The viewer wanders as a guest might, moving from shadow to glare, from whispers to silence, collecting fragments of a story that can never be told in full.

Sally Smoker

Sally Smoker is a photographer based in Kent, UK. Her work is inspired by her family, personal experiences and the stories behind found and archival objects. She also experiments with adding tactical elements to her photography through mixed media.

My Grandma always seemed indestructible, like a cat with nine lives. I believed she would live forever, never truly imagining a world without her. This illusion shattered in June 2024, when my parents broke the news to my sister and me that our Grandma had been diagnosed with stage 4 endometrial cancer which had spread to every part of her body. After her passing in November 2024, I had to confront the unimaginable and begin living my life without her presence. Nine Lives explores loss, memory and absence through my experience of witnessing my Grandma’s decline in health and subsequent death. The project weaves together contemporary photographs taken in the aftermath of her passing with archival images taken from family albums. Through mixed media techniques and film photography, I document not only the physical deterioration of illness but also the process of solidifying memories of those we lose. This work stands as both a personal reflection and a wider meditation on how we remember, grieve and find ways to carry forward the memory of those who have shaped us.

Christopher Berwing

In Berlin, he grew up with photography – in his father’s darkroom, where his father worked as a journalist. He learned a lot from him and later pursued further education in Switzerland, Germany, and the UK. Today, he works on documentary and environmental projects, with a growing interest in experimental techniques.

This ongoing work reflects on the cultural and emotional landscape of Georgia in the context of its post-Soviet transition. The images capture the fragility and subtlety of change: an abandoned diving tower in a former swimming pool, a Karl Marx sculpture humorously tilted with a military hat, or the remnants of a restaurant resembling a crashed UFO. “Between” is composed as a collection of observations. It offers fragments of a landscape shaped by improvisation and unresolved histories. These places and objects carry the weight of a history that remains alive not only through buildings and sculptures but also in the atmosphere of forgetting and remembering. The images invite the viewer to engage with the tensions of transition: between past and present, absurdity and seriousness, resistance and transformation.