I always liked traveling or more so I liked leaving, going away to the unknown. Still there is that longing, longing for the faraway, the freedom. At the same time I feel my roots are pulling. The things you know and that are part of you. The soil you are from: home. But maybe those seemingly opposites belong together. You can’t have freedom without boundaries. No reality without imagination. Longing is nice and there are endless possibilities in my head. Carla Vermeltfoort .

My photographs are similar to street photography in that they capture a moment of real life, without artifice or pose. However, they distance themselves from it by their refined graphic composition as well as by the existential questioning they suppose: What is the place of the human being in this world without nuances and without sweetness? How does life cope with this hardness? How can movement be born in this geometric immobility? Who are you, you little human seeking to c

Kylie Ruszczynski photographs herself. She performs for the camera, both revealing and concealing herself for us, the beholders of her work. In these works her figure appears for us from the depths of dark, often deep black tones. The figure is layered in ambiguous spaces between the mottled grey grid of the small tiles of a shower stall in the background, and the shadow of inguinal ultrasound scans that cover and lie over the surface of the figure. The ultrasound scans are o

I was moving one day. Something happened and I stopped. I felt paralyzed. I was alone. I wanted to keep still, I didn´t want to move any more. I don´t know for how long I was like this, but I remember looking around at some point. I saw a light and I felt its warmth. I heard the wind and I felt its sweetness all over my skin. I can´t explain what happened, but finally I understood. I was never still. Movement was always in me. Teresa Muinelo Paz https://www.instagram.com/ter

Erifili Gounari https://www.instagram.com/losporation/

Contrazione Sensible (sensible contraction) that is a study about objects. In my opinion, art of photography has the power to vitalize inanimate objects. In this sense, the representation of human bodies in photos is the perfect example of vitality in objects, that cannot communicate. Bodies are sensible objects and they need to share the beauty of themselves, that is an inextricable part of bodies and obviously a part of the owner of the body, with us. I wanted to describe h

Oceani in gocce (oceans in drops) is a series of portraits made to express the feeling of sadness in a visible way. The most significant pictures of this series are the ones with a glass full of little drops of water in front of the girl. The face of the girl is obscured by the water: this means that sadness exists and can change, hides and makes disappear. The one that is feeling this emotion and at the same time, the drops of water (that represent tears) can isolate the su

When we are in a flow, we don’t realize reality, which has a suspicious body, that is created by the reification of the imaginary. “Reification” is the key notion to make the system approvable because people need to believe in terms when they are sensible and even embodied. In this conjuncture, photography, in fact, is a social ritual, a defence screen against concerns and a means of exhibiting power. (1) In my “Jouissance” Project, I illustrated the form of resistance in a w

In the contemporary world, humanity is alienated from itself by social constructions which are reproduced by the status quo. We have lost oyr interpreting skills to understand the deconstructive process which is an important means to reshape and recreate identities. In the post-truth era, humanity is very chaotic, but most people do not have an awareness what the system is doing to people. I want to destroy the unconscious progress because this progression is a lie of the sy