Imago

IMAGO
Contemporary Photographic Stories
Jean-Paul Soujol Benedetti
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From its very beginnings, photography has proven to be much more than a simple
technique for recording visual data, despite the struggles it faced to be officially
recognized as an art form. Initially, photography was seen primarily as a tool for
documenting reality, rather than as a means of artistic expression, distant from
painting and sculpture, which were the dominant art forms of the time.
Preface.
Painters, in particular, viewed photography as a threat to their profession, and
the perception of photography as art was hindered by a utilitarian view of its purpose.
It was only in the second half of the 19th century that some photographers
began challenging this view, striving to elevate photography to the status of art.
Considered “lowly,” photography had to overcome significant social and cultural
prejudices. During the early decades of the 20th century, the modernist movement
and avant-garde movements (such as Dadaism and Surrealism) played a
crucial role in establishing photography as an art form in its own right. Modernist
photographers sought to distance themselves from mere documentation, aiming
to express more abstract and personal visions. Artists like Man Ray and László
Moholy-Nagy experimented with new techniques, such as the photogram and abstract
photography, attempting to give photography a visual language of its own,
independent of painting.
Photography is, in fact, a universal artistic language that tells stories, explores realities,
and through images, allows us to capture moments that would otherwise
escape our perception. The different points of view and the various ways of seeing
the world are the very essence of photography, offering the public the intimate
and unique way in which the photographer observes.
“Imago” was created with the intention of exploring the evolution of photography
as an art form, documenting its history, and linking it to contemporary trends,
while offering a platform for emerging voices in the global photographic landscape.
This editorial project is not merely a collection of images, but a deep investigation
into visual language, aiming to reflect on the historical and artistic
significance of photography. By analyzing the present and focusing on a master
from the past, we seek to understand how photography has evolved and how it
continues to be an innovative force in the contemporary world.
This volume is dedicated to Henri Cartier-Bresson, one of the most influential
figures in the world of photojournalism and the pioneer of the concept of the
“decisive moment.” His ability to tell complex stories through moments frozen by
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his lens, his vision, and his philosophy will be at the center of
a profound reflection on his lasting impact on the world of
photography. Cartier-Bresson’s work not only defined a new
era in photojournalism but also established a link between
photography as an art form and the world it seeks to represent.
However, “Imago” doesn’t stop here. Each volume will also
offer a critical look at contemporary photography, exploring
current trends and the new ways photographers today interpret
and use images in the digital age. From conceptual
photography to documentary, from new visual techniques to
emerging global and personal themes, each issue will shed
light on how photography is responding to the challenges and
opportunities of our time.
After Cartier-Bresson, the volume moves on to an in-depth
exploration of a carefully selected group of contemporary artists,
each distinguished by a unique characteristic, not only
in their shots and post-production but also in the message
that underpins their works.
Thus, “Imago” becomes a dynamic platform that celebrates
and reflects on the evolution of one of the most powerful and
significant forms of expression of our time.
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Henri Cartier-Bresson
Henri Cartier-Bresson (1908-2004) was one of the greatest innovators
in the field of photography, a legendary figure who revolutionized
photojournalism and the way photography was understood as an art
form. His career, which spanned over six decades, was marked by an
unceasing search for the “decisive moment” — that irreplaceable instant
that contains the essence of a story, a truth, or an emotion.
Born in France, Cartier-Bresson initially studied painting, but it was
only when he came into contact with photography that he found his
true vocation. After experimenting with painting, his focus shifted to
photography as an expressive medium. In 1931, he purchased his first
camera, a Leica, which would accompany him throughout his career.
This lightweight and discreet tool allowed him to capture images in a
more immediate and less intrusive way, one of the fundamental characteristics
of his approach.
His artistic vision was deeply influenced by the idea of “instant composition,”
a concept that would become the core of his style. Cartier-Bresson
believed that photography was an act of intimate and immediate
observation, a process that should not be intrusive, but rather
spontaneous and natural. For him, the camera was not just a technical
tool but a window through which to capture the authenticity of everyday
life, without forcing it.
His concept of the “decisive moment,” which has greatly influenced
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modern photojournalism, refers to the precise point when all the elements
of a scene — whether human, natural, or architectural — come
together in perfect harmony to tell a story. It is that instant when the photographer
must be ready to shoot, without manipulating or interfering
with reality, but rather responding to it with readiness and sensitivity.
This idea forms the basis of his technique, which is distinguished by a rigorous
composition and a unique ability to anticipate and “freeze” events
of great significance.
In his work, Cartier-Bresson always sought to capture the unpredictability
of life, that condition of constant change that can only be seized if
the photographer is in tune with the natural flow of events. His fame is
largely due to his ability to photograph crucial events in contemporary
history with an immediate and powerful gaze, yet always discreet. His
images, which tell stories of war, politics, culture, and daily life, are timeless
because they convey an emotional intensity that goes beyond the
simple documented fact.
The significance of Cartier-Bresson’s work goes far beyond the technical
or aesthetic aspect. His photography is an act of deep observation, a way
of connecting with the other, with the world, without preconceptions.
Every shot is a reflection on time and change, a testimony to what happens
at a precise moment, yet carrying a universal meaning. His images,
such as The Kiss in front of the Hôtel de Ville or The Jump of a Man in
India, are not just photographs; they carry stories, emotions, and above
all, a worldview that speaks directly to the soul.
His legacy, then, lies not only in the incredible number of iconic images
he left behind but also in the philosophy he inspired: photography as a
universal language that does not need to be altered, only observed with
attention. Cartier-Bresson taught the world that photography can be a
form of visual poetry, capable of telling the essence of life without the
need for words.
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In this context, I would like to refrain from approaching photography
solely through an objective or historical lens, and instead share my more
personal thoughts on this art form, my approach, and my vision of the
photographic world.
For me, photography has never been just a means of stopping time or
capturing the ephemeral. It has always been something deeper, a form
of expression that intertwines with my perception of reality, a way to
explore and, at the same time, communicate with others. I’ve always had
a profound interest in photography—not only as a hobby but as a true
instrument of discovery. I’ve spent countless hours shooting, observing,
and analyzing images, trying to capture what lies beneath the surface:
their energy, their soul.
When I look at other people’s photographs, I feel as though a deep
exchange is taking place between me and the artist. It is not simply about
looking at an image; it’s about entering their world, “seeing” through
their eyes. Each photograph is like a door that opens to a new dimension;
when you observe an image, you begin to perceive the atmosphere, the
emotions, and the thoughts that generated it. It’s as though photography
is a window that allows us to travel without moving, to breathe in other
landscapes without leaving our own.
I believe photography is a form of visual storytelling. It is the narration of
a moment that gains meaning through the eyes of the one who captures it.
Photographs are the unspoken words; they are stories told in silence, but
with their visual power, they convey what words could never express with
the same intensity. Each shot is a small universe of emotions, reflections,
and truths that only the image can capture.
With this in mind, at Galleria Tilde, I’ve decided to offer a space for
photographers, giving them the opportunity to exhibit their work and
reveal to the public what lies behind each photograph—what is not immediately
visible. We live in a world brimming with art, figurative and
Curator’s Notes
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abstract paintings, and yet I believe photography has not always received
the attention it deserves. Still, it possesses the unique ability to freeze the
essence of a moment, to give voice to the silent, and to bring to light the
invisible.
I have chosen to elevate photography because I believe it can transcend
the simple act of “taking” an image. It can be pure art, a medium to
express one’s vision of the world in a way that is both intimate and universal.
Photography has the power to deeply touch those who view it, to
evoke emotions, and to provoke thought. It is a universal language, capable
of transmitting concepts and visions that, at times, are too complex
to be conveyed by words.
In an age where images have become an integral part of our daily lives,
photography has never been so important. But it is also true that, in the
flood of images we consume every day, we must make room for those that
are not just superficial visions, but that tell a deeper truth. I believe that
photography, when given the attention it deserves, can become a true
tool for reflection and change.
Photography is not just an image; it is the silent language of emotions,
ideas, and dreams. Each shot, each photograph, has the power to open
our eyes, to make us see what we hadn’t noticed before, to make us perceive
beauty in the simplest things, as well as in the most complex.
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Focus ON.
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Jean - Paul
Soujol Benedetti
Jean-Paul Soujol Benedetti minimalist photographer
who is inspired by contemporary painting. His work
is the result of an aesthetic research on the purity of
lines and forms where blue is omnipresent in all its
tones. In his minimalist compositions, the horizon is
his guiding line which gives his photographs a notion
of infinite space. The sea is his favourite subject. His
latest works are more abstract with a plastician approach.
Jean-Paul Soujol Benedetti chose the square
format in line with his compositions.
«This format lends itself perfectly to minimalist photography.
It requires rigor but gives great freedom of
composition which makes it very creative. It’s very
aesthetic and modern geometric shape blends perfectly
with my work».
Jean-Paul Soujol Benedetti left the world of full-frame
camera for the medium-format. His current photographic
work on light is even more gratifying as is
his creativity.
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Abstract-Seascape-1
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Abstract-Seascape-2

The photographic works of Jean-Paul Soujol Benedetti are,
in my critical opinion, masterful. From the initial concept,
to the compositional structure, to the chromatic choices,
every element is arranged in an extremely harmonious and
balanced way.
Some of his works, including those presented here, stand
out for their in-depth and captivating analysis of the horizon—a
boundary line between the visible and the invisible
that becomes the beating heart of his compositions. The minimalist
landscapes, stripped of any superfluous elements,
allow the vastness of space and its immensity to take center
stage, with particular attention to the division between sky
and earth. The vivid and intense colors, sometimes sharp
and sometimes blended, merge with the clean and aesthetic
rigor of the photography, creating a perfect synthesis
between the visual and the conceptual. Each image appears
thoughtfully and coherently designed, as if it were the result
of careful reflection on balance and composition.
Jean-Paul, despite the apparent simplicity of his landscapes,
intertwines conceptual elements with references to a surreal
dimension. This is the distinctive feature of his work:
we find ourselves facing conceptual and minimalist photography
that echoes surrealism, giving life to an innovative
photographic movement. His images do not merely represent
what is visible, but hide more: they invite the viewer
to reflect on what lies beneath the surface. The horizon
thus becomes a symbol of infinite possibilities, a thin line
between the known and the unknown, between reality and
dream, between the true and the unreal, between aesthetics
and concept.
The elegance of Noir
In addition to vivid colors, brilliant chromatics, and
subtle gradients, Jean-Paul Soujol Benedetti also demonstrates
his remarkable ability to work within the realm
of black-and-white photography. The cover image
has been selected precisely to showcase how his mastery
of essential rendering, refinement, and compositional
structure is capable of impressing even in the absence of
color play. A room, a vision, but above all, a multitude
of possible meanings intertwined.
In Jean-Paul’s black-and-white works, the contrast
between light and shadow becomes not just a technical
element but the very heartbeat of the composition. His
choice to reduce the image to its chromatic essence, removing
any visual distractions, allows space for formal
purity, transforming each photograph into a profoundly
introspective visual experience.
This reduction to black-and-white, far from being a limitation,
becomes an exercise in synthesis, where each
line, shape, and shadow acquires deep significance.
Without the aid of color, Jean-Paul forces us to engage
with the fundamental elements of the image, initiating
a dialogue that invites a more attentive and reflective
reading, where the power of contrast between light and
shadow is not only visual but emotional as well.
This clean and avant-garde aesthetic, shedding visual
excesses in favor of a refined and contemporary exploration
of form and content, endows Jean-Paul’s photographs
with an evocative power that is both visual and intellectual.
It demonstrates a meticulous process, an artistic and photographic
maturity that is the result of experience and intuition.
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Aesthetics of the movement
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Abstract-Iceberg
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Stromboli - between real and unreal

Black matter
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Katharina Goldyn
Munich - based artist from Poland. After graduating
from the Institute of fine Arts in Czestochowa, Poland
(1989-1994), sche continued her studio at the
Wroclaw (Breslau) Academy of fine Arts (1994-
2000); department of painting with Diplom and Master.
Sche obtained a Doctor of Painting and Sculpture
from Fine Arts Academy in Wroclaw (Breslau)
in 2011. She is owner and Professor of Studio Zeiler
- one oft he oldest private drawning and painting
schools in Munich, which has been in existence for
65 years. She has won several international art prizes,
awards . Solo Exhibitions and participation in
moore group exhibitions.
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Junia and moderne
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Nostalgic

Goldyn’s work, a Polish artist based in Munich, is a fascinating exploration of
freedom, self-expression, and the breaking of boundaries. With a solid education
in the visual arts, having studied at the Institute of Fine Arts in Czestochowa
and the Academy of Fine Arts in Wroclaw, her artistic vision is deeply
rooted in a mix of intellectual rigor and creative experimentation. Thanks
to her experience as an educator and active participant in the international
art scene, her work takes on multiple dimensions, ranging from complex
installations to evocative photographic series. Her practice, resonating with
the influences of Surrealism and Dadaism, is both visionary and subversive.
These historical movements, which sought to dismantle conventional systems
of thought and artistic production, find a powerful echo in her works.
Her installations, which often incorporate everyday objects, also draw from
the Arte Povera tradition, creating captivating works from the most common
materials, reinterpreted through the artist’s own inspirations and ideas.
These materials likely become a means for confronting broader concepts of
existence, identity, and the role of the artist in contemporary life. It is this
dialogue between ordinary materials and transcendent meaning that gives
her works a complex, layered richness. Her photographic series, particularly
the Junia and Moderne collection, reveal another layer of her practice. In these
works, the artist adopts a bold and visionary approach to representation,
rejecting stereotypes and offering a fresh perspective on the female figure.
There are references to the obsessive, repetitive motifs of Yayoi Kusama, but
with a feminist and visionary reinterpretation. The women portrayed in these
photographs are not mere subjects, but symbols—each embodying themes
of freedom, autonomy, and the rejection of traditional roles. This series, in
particular, channels the artist’s desire to deconstruct conventional notions of
femininity, presenting her figures not as objects of desire or passivity but as
autonomous beings radiating power and independence. Her work is shaped
as a complex and multifaceted combination of historical influences, subversive
approaches, and a unique vision within the contemporary landscape. The
artist’s art is a celebration of individuality, inviting the viewer to experience
the freedom of expression while exploring the deeper, often invisible aspects
of the human experience. Through her installations, photography, and teaching,
she establishes a legacy of empowerment, rebellion, and creative liberation—proving
that art is not only a reflection of the world but a powerful
tool for changing it.
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Photographers.
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Camilla Fransrud
Camilla Fransrud’s photographs offer a deep and poetic
glimpse into her homeland, Norway, capturing
landscapes that seem suspended between reality and
dream. The vivid colors and extraordinary sharpness
of her images convey a sense of almost surreal intensity,
as if time and space were stretching, allowing
the viewer to enter a world that is as tangible as it is
imaginary. The attention to detail, use of color, and
impeccable composition make each shot a sensory
experience that envelops and fascinates.
Her photographic subjects vary, with Camilla—like
a reporter of life and nature—capturing all those
images that move her soul. Through macro photography,
everyday objects become the protagonists
of an intimate and delicate narrative. By magnifying
them, the artist highlights the fragility and beauty
hidden in the smallest details, revealing a silent
memory of life that would otherwise go unnoticed.
Each object, no matter how simple, carries with it
a story, a subtle emotion that comes to light through
the photographer’s sensitivity and attention. Camilla
Fransrud’s photography, natural, truthful, yet
analytical, thus becomes a reflection on perception,
the ephemeral, and the possibility of discovering beauty
in small gestures and daily memories.
Born in Oslo, Camilla Fransrud is a versatile artist,
able to navigate a multitude of languages. In addition
to being a well-established abstract artist in the art
market, Camilla is also a nature photographer. Photography,
initially a passion, later became a tool – as
a true form of art – to analyze the surrounding world
and capture invisible details.
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Eleni Gemeni
Eleni Gemeni was born in Athens, Greece, in 1967. She is a
digital artist and experimental photographer based in Luxembourg.
Throughout her career, she has pursued various
fields of study and ideas that have sparked her interest. Her
academic background includes studies in economics, art
& interior design, and translation & applied linguistics.
Photo-montage and experimental photo manipulation are
central to her creative expression. Her post-processing and
digital art techniques are exploratory and unconventional,
making her work a visual journey that embraces the
unexpected. In addition to her digital creations, Eleni’s artistic
journey extends to experimental photography, which
spans across analog, instant, digital, and mobile formats.
Almost a decade ago, she was introduced to lomography,
a style of photography with a distinct pop aesthetic. Captivated
by the vintage analog charm of lomographic photographs,
she began experimenting with lomo and instant
cameras. It was only a matter of time before she ventured
into mobile photography and art, further expanding her
creative horizons.
The landscapes captured by Eleni are both evocative
and intense, imbued with a gothic sensibility
that intrigues and captivates. Her images oscillate
between muffled, mysterious atmospheres and dreamlike,
ethereal qualities, creating a rarefied space
that feels both intense and otherworldly. Looking
at them, we might imagine enchanted, magical woods—an
atmosphere likely enhanced by the analog
and vintage techniques she employs. The tension
between light and shadow, reality and dream, makes
her work an immersive experience, inviting
viewers to explore the contradictions within each
scene. There is a sense of mystery and wonder in
her photographs, an invitation to step into a world
where the ordinary transforms into something
much more intriguing and profound. Eleni’s ability
to convey such depth and emotion through experimental
techniques reflects her keen sense of creative
exploration and her commitment to capturing
the unseen beauty of the world around us.
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Moody forest, 2023
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A foggy day, 2023

Forest, 2023
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Fanja Hubers
As a child, I was always intrigued by the camera that
my father used to make pictures. I soon received my
own, a Konica pop in 1982. Eversince I have been
photographing wherever I go and always carry a camera
with me. I try to be aware of my own experiences
in life and connect them to my photography in
several different projects. Atmosphere and emotions
are the most important for me not only for photographing
but also for making videos. Besides my
passion for photography, I’m an educator. The photo’s
are part of a series ‘A voyage of discovery’.
A voyage of discovery is about my personal journey
of discovery into my creativity. It is about introspective
awareness during a vulnerable period in
which my emotions are driven by something I have
no control over. Who am I as a photographer and as
a human being? And how can I make a connection
between my inner en outer world? Like Raghubir
Singh said: “Photography to me is the dewdrop that
reflects my inner en outer worlds simultaneously”. I
would love to achieve this with my photography.
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Fanja Hubers, Black and white photography
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Masaki Hirowaka
Born in 1981 in Toyama, Japan, Masaki Hirokawa began
his career at the age of 16, diving into web design and programming.
In 1999, he moved to Tokyo to specialize in
web and desktop publishing design. By 2002, his expertise
expanded to system engineering and advanced programming.
In 2005, he embraced a freelance career, taking on a
wide range of projects in web design, graphic design, and
interactive media.
His talent quickly gained recognition, winning the Grand
Prize in the Web Screensaver Category at the MTV SO-ZO
Competition in 2006. Over the years, Hirokawa authored
several reference books and contributed to graphic design
magazines, further solidifying his reputation within the
design community.
In 2011, Hirokawa ventured into the world of video game
development, blending his technical and artistic abilities.
By 2013, he successfully entered the smartphone app
market, where one of his apps garnered over 20 million
downloads, maintaining a user base of over 3 million active
users globally.
In 2019, Hirokawa rediscovered his passion for graphic
design, leading him to exhibit his work internationally in
countries such as Italy and the United Kingdom. His artistic
talents were formally recognized in 2022, when he was
named Artist of the Year 2021 by the ITSLIQUID Group.
Today, Hirokawa continues to push the boundaries of design
while integrating his graphic expertise with his successful
app business, captivating and inspiring audiences
around the world.
Masaki Hirokawa is a distinguished Japanese graphic
artist celebrated for his innovative photo collages that
delve into spirituality and the complexities of human
existence. His work has been showcased in numerous
international exhibitions, and he has received multiple
prestigious design awards. Hirokawa’s visionary
perspective is frequently featured in leading art yearbooks
and specialized magazines, where he shares his
unique approach with a global audience.
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Archetypus, Digital Media,
Photo Collage - 2020
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Masaki Hirokawa is a distinguished graphic artist,
celebrated for his innovative photo collages that delve
into spirituality and the complexities of human existence.
In works like Archetypus and Reclining Buddha,
Hirokawa engages with profound themes of duality,
spirituality, and the nature of self. In Archetypus, the
long beaked mask of a plague doctor confronts the
viewer with the unsettling intersection of beauty and
ugliness. This piece becomes a psychological exploration,
inviting the viewer to confront the internal
struggles that often go unseen beneath the surface.
In Reclining Buddha, Hirokawa evokes the concept
of duality through a face split in two, with two noses,
symbolizing both the external and internal nature of
human identity. This intricate portrayal is not only
a reflection of physical form but also a meditation
on spiritual transcendence. The image of the double
face, split yet united, echoes this idea of cyclical
existence and the journey toward ultimate peace and
release. The artist’s own narrative of returning to the
cosmic ocean and delivering the soul to Nirvana imbues
this work with both a personal and universal
resonance. Through his mastery of symbolism and
technique, Hirokawa’s collages transcend the boundaries
of portraiture, becoming psychological landscapes
that challenge viewers to explore the tensions
between beauty and darkness, the seen and unseen.

Reclining Buddha Digital Media, Photo Collage - 2020
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Minna Kokko
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Minna Kokko is a Finnish visual artist living and working
in France.
After completing a Master’s degree in international relations
in France, she first undertook photography while
working in corporate communications in Paris. She trained
in small and medium format film photography at Gobelins
l’Ecole de l’Image and in digital image processing at
Pyramyd in Paris, as well as in creative digital photography
at Luova in Helsinki and in experimental photography at
Agora Experimental online.
Her work has been exhibited regularly in solo and group
shows in France, Finland and other European countries
since 2008. She is currently featured by Artdoc Gallery, an
international online gallery dedicated to contemporary
photography. Her work is also featured by Jaguar Arte, an
online gallery specializing in art related to nature, as well
as by Récurrence Photo, a French agency renting photographic
art exhibitions to companies.
She also works actively within two artist collectives in the
Paris region, and is a member of an international collective
of women photographers.
Minna Kokko has recently benefited from the ADAGP
support fund for a video portrait directed by Arte Studio
in France.
“Composition 26”: cyanotypes

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Minna Kokko’s work is extremely interesting.
Through photography, Minna intensely explores
the theme of life and death, simultaneously
addressing the transition between these
two opposing poles—integral to the natural
cycle—through a series of photographic techniques
that give her work both a physical and
symbolic dimension. Her artistic research unfolds
in a dialogue between science and art,
a experimentation with techniques that adds
depth to her works. Tools such as scanography,
radiography, and cyanotypes intertwine to reveal
the fragility and complexity of both the
human and natural condition. In her images,
scanography and radiography are not merely
technical methods, but become a means of penetrating
the surface of the visible, revealing
what is hidden, both in the human body and in
the nature surrounding it, while also evoking
the transience of life. With the cyanotypes, on
the other hand, characterized by their distinctive
blue, Minna offers another layer of meaning,
highlighting the beauty and vulnerability
of the subjects. Each image is not just a representation,
but an emotional and intellectual
exploration, an invitation to reflect on death as
an integral part of life.
“Life and Death 6”: photography and radiography
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“Peonies 12”: scanography
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Natalie Egger
Natalie Egger, a multi-award winning Austrian artist, graduated
from the University for Applied Arts Vienna. She
is actively engaged in the fields of photography, digital art,
and visual arts. Her creative journey unfolds in the vibrant
city of Vienna, where she resides and diligently hones her
craft. Natalie has experimented with various artistic media,
but two particular mediums currently hold her fascination:
photography and digital art on one hand, and
acrylic painting (mostly on canvas) and pencil drawing
on the other. In her digital art and photography, she captures
close-ups of random subjects encountered during
her urban explorations or travels. These serendipitous
encounters become snapshots, which she later consciously
deconstructs through the fusion of two to four photographs,
often incorporating her pencil drawings. This
transformative process yields entirely new digital creations,
reimagining her original photographs in fresh and
unexpected ways. Natalie’s acrylic paintings and pencil
drawings reflect her deep fascination with the human face
and body, as well as their myriad expressions. Her sources
of inspiration include dance, performance theatre, and fashion.
The artist has exhibited her work in several group
exhibitions online, at museums, galleries, and art fairs in
Austria, Italy, Spain, the United Kingdom, the USA, China,
Greece, Switzerland, and Kazakhstan. Her artworks are
featured in various art publications and are part of private
collections in Europe and Asia.
Natalie’s very first solo exhibition took place in London,
UK, in July 2024.
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Black and white photography

Natalie Egger’s work is situated in a realm where the art of photography becomes an intimate
and reflective exploration, rather than mere representation. Her black-and-white photography,
imbued with an almost ethereal quality, moves away from simple visual research to
embrace a deeper reflection on art itself. Her approach, which aligns with the principles of
l’art pour l’art, focuses on creation for its own sake, where the essence of the work resides in
the creative process rather than the final outcome. What is particularly interesting is the presence
of a photographic structure, an artistic search that becomes Natalie’s philosophy, as if it
were her fingerprint, her unique signature.
Her images, often enigmatic and fragmented, challenge immediate perception and invite the
viewer to look beyond the visible. This is no accident: the choice to focus on subjective perspectives
and on fragments of the whole, rather than on an overall view of the subject, both
confuses and fascinates. Those who approach her work may initially find themselves disoriented.
The human figure transforms into an elusive entity, not fully defined, where the physicality
of the body is distorted by the artist’s personal perspective.
The human body, sometimes reduced to fragments and revealed only in part, becomes a symbol
of a more complex existence, where perceived reality does not align with the visible one.
In this sense, Egger’s works approach a conceptual language, but one that is not expressed
through words, but rather through forms, shadows, and silences. The act of revealing only
fragments of the body, or subtracting visual information through black and white, creates a
sense of detachment between what is shown and what is hidden, inviting the viewer to reflect
on the meaning of what is left outside the visual field. Each photograph, therefore, is not just
an image, but an invitation to decipher the unspoken, to probe the artist’s subjective perception.
The choice of black and white, or with small color inserts, seems never to be casual. In these
photographs, the lack of color amplifies abstraction and reduces the visual element to its minimum,
allowing greater focus on form and light, essential elements in Egger’s photographic
language. Light, in fact, becomes a play of contrasts, a dance between the visible and the
invisible, accentuating the folds, volumes, and shadows of the human body, giving life to an
emotional tension that, while not expressed through color, is just as powerful. Egger’s approach,
though intimate and personal, is also universal: through the deconstruction of the human
figure, the artist explores both the fragility and the strength of the body, not as a defined physical
entity, but as a symbol of a deeper and more complex experience. In each of her photographs,
there is a game of introspection that does not limit itself to what is visible but invites
the observer to question their relationship with reality, the illusion of completeness, and the
search for truths that are not always accessible.
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Black and white photography

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Riki Nihongi
Riki Nihongi is a photographer who approaches the world
of photography with a unique and profound perspective.
Beyond his artistic career, Riki also works for a company
that publishes a magazine specializing in civil engineering,
a field that covers a broad spectrum, from land formation
to infrastructure maintenance and renewal. His work in
this industry has enriched his knowledge, fueling his intellectual
curiosity and allowing him to reflect on broader
concepts like happiness and the ideal state, often explored
through his photography and writing.
Riki is deeply interested in the relationship between art
and society, particularly the expectations society places on
artists. This curiosity has led him to engage with programs
like Visual Thinking Strategies (VTS), which he is currently
studying. In a constantly evolving world, Riki questions
the pace of change: if the speed of change were constant,
would the world be a better place? This is a question he has
recently begun to explore and seeks answers to.
As a photographer, Riki Nihongi is especially drawn to
two key themes: the Act of Seeing and the Relationship
with Others. Influenced by Zen philosophy, the Japanese
tea ceremony, nature worship, and artists such as photographer
Uta Barth and painter Vilhelm Hammershøi, Riki
believes that the act of “seeing” is central to the process of
personal growth. For him, seeing is more than just visual
perception—it stimulates understanding, fosters curiosity,
and leads to deeper connections and actions. It is a dynamic,
ongoing process that continuously deepens one’s
relationship with the world.
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Riki Nihongi is a talented Japanese artist. We have had the opportunity
to observe his photographic works, his understanding of the relationship
and act of seeing, and we have seen how skillfully he captures
everything through his photographic lens.
Riki Nihongi’s cultural influences span Zen spirituality, the photography
of Uta Barth, and the paintings of Vilhelm Hammershøi. His
images reflect a meditative and minimalist aesthetic, with subjects ranging
from urban interiors to natural details. The principles of simplicity
and meditation in Zen are evident in Riki’s photography, which captures
moments of stillness and reflection in a rapidly changing world,
while those of Barth are seen in his exploration of shadows, windows,
and everyday objects. Riki lingers on what is almost “unseen.”
Riki Nihongi’s photographic works are, above all, highly evocative, and
there is a palpable sensitivity to detail. Floors bathed in the soft glow
of sunlight peeking through the window frame, cigarette butts lying on
the ground as a metaphor for a life that is consumed and a relationship
that is over; clocks that mark and freeze time, while everything else
flows and changes; fallen leaves, lush trees, water reflecting the silent
nature. His photography is poetic and minimalist, built upon an artistic
search where the invisible becomes visible, where color is subdued,
giving way to black and white to avoid overwhelming the viewer’s eye
and narrowing the perceptual field. It is in this way that Riki Nihongi
helps and guides the observer to notice the details that usually go unnoticed.

Look at you, 2024
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Stephen Harper
Stephen worked as a professional photographer in a studio
in central London for over 20 years. His work primarily
focused on commercial assignments, commissions from
advertising and design agencies based in London, as well
as corporate brochures. High-quality silver gelatin prints
produced in an in-house darkroom were a specialty. Some
of his personal works were exhibited in spaces in central
London.
After pursuing a different career path, he did not shoot any
new photographs until 2017, when he reignited his interest
in the medium. He frequently travels to France and is
well-acquainted with the southwest of the country, particularly
the Lot department. A large portion of his current
images have been taken in the main city of Cahors or in
nearby towns and villages.
His photographs are characterized by strong graphic shapes
of urban locations, primarily of domestic, commercial,
and industrial buildings from a previous era. They reveal
hidden geometry, textures, less obvious compositions, and
use a palette of desaturated colors. They are often inspired
by the more subdued tones of certain Impressionist/
Post-Impressionist painters, rather than other photographers.
His recent projects present a more contemporary
style with a slightly greater emphasis on color.
Details:
Passage 19, photography
Passage 7, photography
Passage 9, photography
Passage 8, photography
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Observing Stephen Harper’s photographic works is like tracing a subtle
echo of Edward Hopper’s painting style, whose mastery in handling
light and atmosphere clearly emerges in these contemporary images.
Just like in Hopper’s iconic paintings, Stephen’s photographs offer an
intimate and often solitary view of urban spaces. The subjects reveal
a strong sense of tranquility, where light plays a fundamental role in
shaping the mood and bringing out the hidden geometry that would
otherwise escape the eye. There is a palpable sense of calm in these
photographs, a meditative quality that is both reflective and timeless.
The compositions are meticulously structured, with sharp graphic
shapes and expertly controlled contrasts. The way light interacts with
surfaces, highlighting textures and creating shadows, adds depth and
dimension to the images, giving them an almost cinematic quality. The
result is an atmosphere suspended in time, silent.
The way Stephen frames urban environments—whether it’s a deserted
street corner or a solitary building—channels a sense of isolation that
is both serene and thought-provoking. The photographs may appear
simple at first glance, but they reward closer inspection, revealing hidden
geometries and layers of meaning, much like Hopper’s ability to
evoke complex emotions through seemingly simple representations of
everyday life.
In his more recent works, Stephen has shifted his style toward a more
contemporary approach, placing a bit more emphasis on color. While
this adds vibrancy to some compositions, the overall tone remains
consistent: a quiet meditation on the spaces we inhabit, on the geometry
of the built environment, and on fleeting moments that usually go
unnoticed.
Stephen Harper’s photography not only captures the essence of urban
landscapes but does so in a way that invites the viewer to pause, reflect,
and engage with the light, shadows, and space.

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Resit Simsek
Resit Simsek was born in Tarsus, the ancient city where
Marcus Antonius and Cleopatra famously met. His interest
in literature and painting began during his primary
and secondary school years. In high school, he played the
leading role in a theatrical production, further nurturing
his creative inclinations. After leaving his hometown, he
moved to Istanbul, where he earned a degree in naval architecture
and marine engineering from a technical university.
For him, the engineering education became a key
that eventually unlocked his path to painting, a passion
that had been with him since childhood. He started working
with oil paints and later had the opportunity to collaborate
with Joseph Gerez, further expanding his artistic
practice. In recent years, Resit Simsek has participated in
several group exhibitions in Istanbul, where his work has
been showcased. In 2021, he won a poetry and essay competition,
marking a significant achievement in his literary
pursuits. The following year, in 2022, he became a finalist
in an international competition organized by the Kodak
Camera Club in the USA, with one of his analog photography
series. Some of his editorial works have been published
in two magazines, further establishing his presence
in the art world. In the same year, he began his education
at Mimar Sinan Fine Arts Academy, focusing on photography.
His growing body of work includes darkroom
photograms and portrait photography. In 2023, his photo
series was exhibited at both Tokyo Metropolitan and Batumi
Art Center. This year, he was also honored to be a finalist
in the Mane International Photography Competition
in France.
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William Joe Josephs Radford
William Joe Josephs Radford (born 1998, Marbella) is a
Spanish-British photographer known for his provocative
and experimental approach to fine art photography. His
work explores themes such as identity, vulnerability, mortality,
addiction, and societal perceptions, often through
deeply personal narratives and experimental techniques.
Radford’s photography is characterized by its emotional
depth, use of color, and a distinctive blend of symbolism
and unconventional aesthetics.”White Knight,” William
Joe Josephs Radford’s latest project, is a culmination of
years of experimentation with photographic techniques,
merging ghosting, lens masking, light painting, color flash
gels, and, most recently, smearing Vaseline on the lens. This
layered approach captures the delicate transition between
life and death, symbolizing the soul leaving the body. The
Vaseline-smeared lens remains a constant throughout the
series, representing both the cognitive fog his father experienced
during his final months and the artist’s own grief,
William likens the effect to looking through tear-filled
eyes. The interplay of red and blue tones evokes dualities—
life and death, heaven and hell—infusing the images with
tension. Personal objects carefully placed within the compositions
anchor the work in memory and connection.
“White Knight” is a raw and evocative meditation on love,
loss, and the universal process of mourning.
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White Knight by William Joe Josephs Radford is a raw and
compelling meditation on the themes of life, death, love,
and loss, told through a visual language that is both personal
and universally touching. His experimental approach
to fine art photography, which combines various techniques
such as ghosting, lens masking, light painting, and,
more recently, the use of Vaseline on the lens, creates an
aesthetic that is as provocative as it is emotionally charged.
One of the most striking aspects of Radford’s work is his
ability to create emotional depth that speaks directly to the
individual experiences of vulnerability and mortality. As
the artist explains, the application of Vaseline on the lens
becomes a metaphor both for the cognitive fog experienced
by his father in his final months of life and for the grief
the artist himself has undergone. The blurred, dreamlike
quality produced by this technique invites the viewer into
a space where the line between the real and the ethereal
dissolves, reflecting the delicate transition between life
and death. The hazy lens, which the artist likens to the sensation
of looking through tear-filled eyes, adds a tangible
sense of mourning to the work, creating an emotional immediacy
that lingers long after the image has been viewed.
The interplay of contrasting colors—particularly red and
blue—reinforces the theme of duality that permeates White
Knight. These colors evoke a tension between opposing
forces: life and death, heaven and hell, light and darkness.
Radford does not use color merely as an aesthetic device
but as a fundamental part of the narrative. The tones serve
to heighten the emotional weight of the images, imbuing
them with a sense of urgency and contradiction that
mirrors the complexities of the human experience. What
stands out most in Radford’s project is the balance between
abstraction and representation. The objects within the
compositions anchor the photographs to the artist’s lived
experience, while simultaneously creating space for the
viewer to interpret them personally. The subjects are highly
symbolic, capable of evoking a sense of memory and
connection, offering a tangible link to the emotional world
of the artist. The protagonists of the photographs—cigarettes,
men, still lifes—immersed in a surreal and saturated
context, suggest both loss and continuity, creating an
intimate portrait of grief and the search for meaning in
its aftermath. In White Knight, vivid colors, experimental
techniques, and deeply personal themes intertwine to
form a photographic narrative that is both challenging and
poignant. Radford’s work is not just an artistic exploration
of mortality and memory, but also a visceral invitation for
the viewer to confront their own experiences of loss. His
images demand attention and reflection, offering a unique
fusion of symbolism, unconventional aesthetics, and emotional
honesty.
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«It is necessary
to feel involved in
what you frame
through the viewfinder.
»
Henri Cartier-Bresson
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IMAGO
Contemporary Photographic Stories
Created with Galleria Tilde
Published by: ass. cult, Studioarte22
ISBN: 978-88-947534-7-9
Critical texts: Dr. Beatrice Cordaro, Art Historian and Curator
Advertising and distribution: Galleria Tilde Team
Published on January 25, 2025
Cover: Jean-Paul Soujol Benedetti
Contacts:
info@galleriatilde.it
IG: @galleriatilde
Via Giuseppe Pipitone Federico, 48
90144 - Palermo
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