Yorkshire Sculpture Park (YSP) presents a new collection by Japanese woodcarver Yukihiro Akama, opening on March 9.
Yorkshire Sculpture Park to showcase new collection by Japanese woodcarver Yukihiro Akama
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Israel Condemns US Award For Handing Prize to Photographer with ‘Hamas Ties’
Israel has condemned a U.S. journalism award for handing a top prize to a photographer who was allegedly embedded with Hamas during the October 7 attack.
Last week, Photographer Yousef Masoud won the prestigious George Polk award for photojournalism for his images of the Israel-Hamas conflict for The New York Times.
Today, @nytimes is celebrating Yousef Masoud’s prestigious Polk Award for his photojournalism.https://t.co/4xaqK94iPR
Reminder: Masoud didn’t only photograph the conflict “from its opening hours on Oct. 7” – he infiltrated Israel’s border from Gaza that very morning.
Questions… pic.twitter.com/OIrmg2rBbm
— HonestReporting (@HonestReporting) February 20, 2024
Masoud was awarded the prize alongside another freelance photojournalist named Samar Abu Elouf.
“The award for Photojournalism goes to Samar Abu Elouf and Yousef Masoud of The New York Times for chronicling Israel’s bombardment and invasion of their homeland, Gaza,” writes the committee for the George Polk award.
“The two photographed the conflict from its opening hours on Oct. 7 until they escaped the territory exactly two months later.”
However, according to The Times of Israel, Israel’s Foreign Ministry has slammed the committee of the U.S. photojournalism award for giving the prize to Masoud — claiming that he has public connections to Hamas and allegedly knew the terrorist organization’s plans to attack the country on October 7 in advance.
According to Honest Reporting, an Israeli website founded by a veteran journalist by the name of Gil Hoffman, Masoud allegedly claimed he was woken up at 05:30 am by rocket fire — even though the firing only started an hour later.
“I am writing to express grave concern over your 2024 George Polk Award selections,” Itay Milner, a spokesperson for the Consulate General of Israel in New York, writes in a letter to the award committee.
“Equally troubling is the specific awarding of Yousef Masoud, whose public connections to Hamas and well-documented foreknowledge of the terror group’s plans for invasion mortally compromise the integrity of his reporting.”
“By honoring Masoud, the George Polk Awards endorse a journalist whose work is deeply tainted, sending a dangerous message that journalistic recognition can be altogether divorced from any semblance of ethics.”
‘It is Reckless to Make Such Allegations’
However, in an open letter published on Saturday, The New York Times denied the accusations made by Israel’s Foreign Ministry.
“The accusation that anyone at The New York Times had advance knowledge of the Hamas attacks or accompanied Hamas terrorists during the attacks is untrue and outrageous,” it reads.
“It is reckless to make such allegations, putting our journalists on the ground in Israel and Gaza at risk.”
The publication accused Honest Reporting of making “vague allegations” and argued that the publication’s claim that Massoud began shooting photos before the October 7 attack began is 05:30 as false.
“The basis for Honest Reporting’s claim is a fabrication: that Mr. Masoud began shooting pictures at 5:30 when the attack began an hour later. Wrong,” writes The New York Times.
“Mr. Masoud, we know from the photographic evidence, began shooting photographs after 06:30 — from his home’s rooftop with the fighting visible in the distance – when the noise of combat awoke him.”
Last week, several survivors of the October 7 attacks on Israel sued the Associated Press (AP) for hiring freelance photojournalists who are allegedly “embedded with Hamas.”
Image credits: Header photo licensed via Depositphotos.
Maine Photographers Showcase opens March 28
The 2nd annual Maine Photographers Showcase opens at Boothbay Region Art Foundation Wednesday, March 28. This invitational show features work by some of Maine’s best. Meet some of them at the Opening Reception on Saturday, April 6 from 3 to 5 p.m.
Most photographers in this show had work included in the former juried Maine Photography Show, held in the spring for 17 years. Bruce Burnham, BRAF board member and coordinator of the former Show, continues his commitment to place photographers in the spotlight. This year that light shines on Kathleen Clemons, Jane Davis, Jeff Bazinet, Allen Cairns, Meredith Kennedy, Daryl Ann Leonard, William Curran, Isaac Crabtree, Mike Fillyaw, Eva McDermott, Anne Post Poole, Kim Stone, Francesca Galluccio-Steele, Ben Getchell, Martin Grassie, Michael Austin Kane, Jim Nicholson, Zoe Theberge, Burke Long, Sandra Wescott, Hugh Blackmer, Bill Schumaker and Charles Laurier DuFour.
Each photographer will have up to five images displayed together, like a mini-gallery. All of the exhibited images are for sale as well as those brought to BRAF as bin pieces (matted, unframed work) – unless otherwise noted.
As Burnham explained last year, the new show, “… had to be for and about Maine photographers, but less time-consuming, less complicated without jurors, themes, and awards – just photography.”
At the opening reception for last year’s inaugural Showcase, Burnham announced the photographers for this year – and he plans to do so again on April 6. This year, however, Burnham is interested in inviting photographers not previously included in the former Maine Photography Shows.
If interested in showing your images in the 3rd annual Maine Photographers Showcase, call Burnham at 207-350-6405 for consideration.
BRAF is at 1 Townsend Ave. in downtown Boothbay Harbor. The 2024 Showcase runs through May 3. The gallery is open Thursday – Saturday from 10 a.m. to 4 p.m. and Sunday from 11 a.m. to 4 p.m.
Elevated Perspectives: Drone Photography Unveils the Daily Dance o…
Imagine peering down from the sky, observing the delicate harmony between man and nature as it unfolds upon the shimmering waters of Lidao Bay and Ailun Bay in Rongcheng City, Shandong Province. This is the scene captured through the lenses of aerial drone photographers Li Xinjun and Wang Fudong on February 26, 2024, offering a breathtaking glimpse into the daily lives of local fishermen. Their work provides a fresh perspective on the ancient practices that continue to thrive against the backdrop of China’s eastern coastline.
The Symphony of the Seas
The aerial photographs reveal more than just the physical exertions of the fishermen; they capture the rhythm and poetry of a lifestyle that has sustained generations. The images, characterized by the vibrant blues of the sea interwoven with the delicate movements of the fishermen, highlight the beauty and resilience of human labor. This unique vantage point underscores the interconnectedness of the community with the marine ecosystems of Lidao Bay and Ailun Bay, showcasing a sustainable approach to harvesting the bounty of the sea.
Technology Meets Tradition
In the age of technological advancement, it’s rare to witness traditions that have remained largely unchanged over centuries. The use of drones by photographers Li Xinjun and Wang Fudong introduces a modern twist to documenting these age-old practices. This innovative approach not only serves to preserve the visual heritage of the fishermen’s daily routines but also opens up new avenues for appreciating the intricate balance between human endeavor and nature’s offerings. Through their lenses, a story of resilience, adaptation, and continuity is eloquently told, bridging the gap between the past and the present.
Environmental Harmony and Challenges
While the photographs celebrate the beauty of this symbiotic relationship, they also prompt reflection on the environmental challenges facing marine ecosystems worldwide. The serene imagery of Lidao Bay and Ailun Bay belies the pressing issues of pollution, overfishing, and climate change that threaten the livelihoods dependent on these waters. Through documenting the fishermen’s work, the photographers inadvertently highlight the importance of sustainable practices and conservation efforts to ensure the future health of our planet’s oceans.
The drone photographs of Li Xinjun and Wang Fudong serve as a poignant reminder of the enduring spirit of coastal communities in Shandong, China. As we gaze upon these images, we’re invited to reflect on our own relationship with the natural world and the imperative to protect these delicate ecosystems for generations to come. In capturing the dance of the fishermen, a deeper story is told — one of hope, resilience, and the enduring bond between humanity and the sea.
How Tokenization Will Transform the Art Market – Interview with Irina Garasymiv, Founder of 10101.art
- Art tokenization is a recent trend in the art world that leverages blockchain technology transforming the ownership rights of an artwork into digital tokens.
- 10101.art is a platform where people can become legal owners of physical paintings created by world-renowned artists such as Warhol, Dali. Picasso, Banksy and others.
Q1: In your opinion, how can the average person benefit from the tokenization of art?
A1: Do you know why tokenization has become a megatrend over the past few years? Well, it is because this technology turns previously inaccessible assets into fully accessible ones for everyone. However, art tokenization is not only about accessibility; it’s about freedom. If you cannot buy an apartment or a house today, you must work hard or hit the lottery. Then, virtually any real estate will be available to you. But if you wish to buy a particular authentic painting, then, alas, it will be out of reach. You’ll have to immerse yourself fully in the art world, hire your art dealer, meet a few curators, and end up buying whatever you’re offered, rather than what you originally wanted to buy. Art tokenization gives you choices regardless of income or social connections. You can choose what you like, in the amount you can afford.
Q2: What unique advantages might WEB3 enthusiasts find in collecting physical art objects?
A2: Web 3.0 community are the groundbreakers. They are the first ones to both try trends and to start bucking them. Hardly anyone outside of the Web 3.0 community would have thought that digital art could be worth millions. Eventually, the pioneers of Web 3.0 proved that it really can’t. In doing so, they destroyed the reputation of NFT technology. As a result, the community gained its first, not the most fortunate, but still valuable art collecting experience.
We are now reinforcing collectibles with Real World Assets (RWA). We believe that this should regain the trust of the NFT and, thanks to the Web 3.0 pioneers, become widespread.
On 10101.art we tokenize physical paintings created by famous artists, such as Banksy, Warhol, Picasso and Dali. Art tokenization allows people to become legal owners of original paintings. This way art ownership and collecting is accessible for everyone.
Q3: While traditional art markets offer established procedures, could there be instances where tokenized ownership presents advantages in terms of ease and security?
A3: Somewhat paradoxically, buying original paintings on the traditional market is definitely not safer or easier. Do you know art dealers and experts who can confirm to you the authenticity of a painting? Are you willing to wade through hundreds of willing bidders for a major auction and overpay many times over for an authentic painting? Let’s assume that the answers to these questions made you chuckle and that these procedures are not particularly difficult. Well, how will you transport the painting to the venue, especially if it’s located in another jurisdiction? Have you thought about insurance and storage arrangements for the painting? And even if you’re not confused by these questions either, think about how long it will take you to become a collector.
Q4: For someone who has purchased an NFT from 10101.art, what are some common approaches to managing and engaging with their ownership?
A4: Our pieces are not a short-term speculative tool. If you want to make money within a couple of days, you definitely should not buy a piece of a painting or a whole painting. No matter whether it’s online or offline. At the same time, we are not ruling out that you will need to sell a piece of your painting later on. For this purpose, we are working on the launch of a secondary market for the realization of pieces of paintings. It will soon be available on our website.
Q5: What unique value do you offer that’s different from your competitors?
A5: Most direct competitors see their future in the best representatives of contemporary art. We also prefer the best, only deceased artists. They cost more, and their work is sure to remain limited edition. Despite this, we do not concentrate on one particular current. On 10101.art you can find works from cubism and surrealism to pop and street art. It is the variety of works, their proven authenticity, achieved by our own network of curators and dealers, as well as real assets stored in a partner gallery that distinguish us from our Web 3.0 competitors.
But the key detail is that at the moment the main goal is to win the competition with indirect competitors. These are the big traditional art market players such as Christie’s, Sotheby’s, MacDougall’s and Bonhams. While we are still playing in the Web 3.0 sandbox, they are the ones who own the absolute share of the art market. The tool that can help us in this is the speed and flexibility of Web 3.0 technologies and projects. When high-tech companies, such as Siemens, realize how important even a minimal advantage over competitors is and invest in RWA without giving space to smaller players, then the traditional players of the art market can give us a chance. And we will definitely take it.
Q6: What are the project’s goals and plans for the near future?
A6: We have a clear vision and a solid plan to achieve it. This vision includes the following points:
Team
An idea is worthless if there is no one to implement it. That’s why we take a long time to select people for each position in the team. We pay special attention to soft skills, it is important that everyone in the team shares the vision and values of the project. We can teach individual skills, but it is almost impossible to impart an appreciation for art or the ability to think critically to a developed person.
Purposeful and rational use of financial resources
Although we’ve already brought in significant investments, we are playing on a field with traditional players with billions in resources. In this race, it is important to realize that this is a marathon, not a sprint. That is why we are rational in our use of funds and clearly understand our burn rate.
Expanding the collection
Our growth is possible primarily by expanding our collections of paintings from top artists, possessing our own art network, and we devote the maximum amount of effort to finding new gems for our collection. So far, it includes “Turf War” by Banksy, “Campbell Soup Cans” by Warhol and two paintings by Picasso and Dali ready to be announced.
First-time user retention
In recent months, we have made our first successful sales of 100 pieces of Banksy’s Turf War painting and got our first buyers from our established community. We are confident that they will become evangelists of our project, and we do our best not to disappoint them. After all, it is you, Web 3.0 pioneers, who will be able to bring our idea to the masses better than anyone else.
Opening new galleries
Our major advantage is our own partner galleries. The main task is to increase the number of physical spaces where our collectors can get in touch with their works. The first of them, Monada Art, will be officially opened on April 16. At this opening, you can personally explore the works and meet the team, as well as ask me the questions I haven’t answered here.
Disclaimer
The presented content may include the personal opinion of
the author and is subject to market condition.
Do your market research before investing in cryptocurrencies.
The author or the publication does not hold any responsibility
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Exploring the Path to Starting a Photography Business in 2024 |
Navigating the complexities of starting a photography business in 2024 is a daunting task for many aspiring photographers. Understanding the state of the industry and strategizing for success amidst intense competition and technological disruptions is crucial for those looking to make a mark.
Coming to you from Justin Mott, this insightful video shares Mott’s personal journey and the lessons he’s learned from over two decades in the photography business. Mott emphasizes the importance of mental preparation and understanding the saturated market photographers are entering. He candidly discusses the challenges posed by a plethora of content creators and the declining value of content due to technological advancements like AI. This perspective is invaluable for newcomers who need to grasp the reality of the photography industry today. Mott advises on the necessity of diversifying skills, including storytelling, video production, and editing, highlighting how these can differentiate a photographer in a crowded market.
Moreover, Mott touches on the practical aspects of starting a photography business, such as selecting the right gear without overspending and the significance of mastering the business side, including contracts, accounting, and marketing. He stresses the importance of storytelling in creating compelling content that stands out. Mott also provides guidance on navigating the digital landscape, leveraging social media for marketing, and continuously adapting to new opportunities. His advice on maintaining a balance between commercial work and personal projects to stay connected with the passion that drew one to photography initially is particularly resonant. Check out the video above for the full rundown.
Exploring the Intersection of Photography and Blockchain: Highlights from the World’s First NFT Photo Competition in Istanbul
In a groundbreaking convergence of traditional photography and cutting-edge blockchain technology, Istanbul played host to the inaugural Awards.Photos event, marking a significant milestone in the art world’s embrace of digital innovation. Held on February 5th, 2024, at the Hilton Istanbul Bosphorus the ceremony celebrated the winners of the world’s first NFT (Non-Fungible Token) photography competition, a venture aimed at reshaping artistic landscapes and safeguarding creative integrity in the digital age.
Organized under the auspices of FIAP (International Federation of Photographic Art), Seed.Photo, Eurasia and sponsored by Bybit NFT & many others, the event attracted photographers from around the globe, each vying for recognition in six distinct categories: Creative Concept, Human, Nature, Open Color, Open Monochrome, and Travel.
Among the distinguished winners were Elina Garipova, whose captivating piece “Daily” clinched the Creative Concept category, and Mehdi Nağaşzade, honored for his evocative portrayal titled “Lily” in the Human category. Ovi Pop’s striking composition “6 Chairs” secured victory in the Open Color category, while Rüstem Rakimov triumphed in Open Monochrome. Jie Fischer’s enchanting depiction, “Happy Days for Polar Gentlemen,” claimed the top spot in the Travel category.
Yet, beyond the accolades and applause, the event served as a catalyst for broader conversations about the role of technology in shaping artistic expression.
Alex Atashkar, Co-Founder of Seed.Photo, underscored the significance of the occasion, stating: “Awards.Photos transcends mere competition; it heralds a new era by bridging the realms of photography, blockchain, and NFT art.”
Atashkar’s sentiments echo a prevailing discourse surrounding the integration of artificial intelligence and blockchain technology in the art world. As concerns about art theft and digital rights persist, the advent of blockchain offers a promising solution, ensuring immutable protection and traceability for digital artworks.
Parsa Haghighi, Founder of this photography competition commented: “In the luminous world of photography, where each image tells a story that transcends time and space, Awards.Photos stands at the forefront of a revolutionary chapter. Awards.Photos is proud to lead this transformative journey, championing the rights and creative freedom of photographers everywhere. Together, let’s capture the future, frame by frame, in a world where every photograph is an undisputed testament to its creator’s vision and integrity.”
Ilter Yilmaz, Ambassador of Awards.Photos Turkey, spoke passionately about the event’s broader mission, emphasizing the empowerment of artists in the NFT realm. “NFTs represent a paradigm shift in how we perceive and value digital art,” Yilmaz remarked. “Our goal is to democratize access to this burgeoning market, enabling more artists to assert control over their creations and derive value from their work.”
Against the backdrop of Istanbul’s rich cultural tapestry, the world’s first NFT photo competition stands as a testament to the city’s enduring legacy as a beacon of artistic innovation. As the boundaries between tradition and technology continue to blur, events like Awards.Photos serve as beacons of creativity, illuminating pathways to a more inclusive and equitable art world.
In conclusion, the convergence of photography and blockchain heralds a new frontier in artistic expression, one defined by collaboration, innovation, and boundless possibility. As artists and enthusiasts alike navigate this brave new world, one thing remains certain: the journey has only just begun.
Disclaimer: This article is provided for informational purposes only. It is not offered or intended to be used as legal, tax, investment, financial, or other advice.
20ft whale sculpture is set to be replaced
A 20ft wooden sculpture that was made to commemorate Norfolk’s whaling industry is set to be replaced.
Exploring the Intersection of Photography and Blockchain: Highlights from the World’s First NFT Photo Competition in Istanbul
In a groundbreaking convergence of traditional photography and cutting-edge blockchain technology, Istanbul played host to the inaugural Awards.Photos event, marking a significant milestone in the art world’s embrace of digital innovation. Held on February 5th, 2024, at the Hilton Istanbul Bosphorus the ceremony celebrated the winners of the world’s first NFT (Non-Fungible Token) photography competition, a venture aimed at reshaping artistic landscapes and safeguarding creative integrity in the digital age.
Organized under the auspices of FIAP (International Federation of Photographic Art), Seed.Photo, Eurasia and sponsored by Bybit NFT & many others, the event attracted photographers from around the globe, each vying for recognition in six distinct categories: Creative Concept, Human, Nature, Open Color, Open Monochrome, and Travel.
Among the distinguished winners were Elina Garipova, whose captivating piece “Daily” clinched the Creative Concept category, and Mehdi Nağaşzade, honored for his evocative portrayal titled “Lily” in the Human category. Ovi Pop’s striking composition “6 Chairs” secured victory in the Open Color category, while Rüstem Rakimov triumphed in Open Monochrome. Jie Fischer’s enchanting depiction, “Happy Days for Polar Gentlemen,” claimed the top spot in the Travel category.
Yet, beyond the accolades and applause, the event served as a catalyst for broader conversations about the role of technology in shaping artistic expression.
Alex Atashkar, Co-Founder of Seed.Photo, underscored the significance of the occasion, stating: “Awards.Photos transcends mere competition; it heralds a new era by bridging the realms of photography, blockchain, and NFT art.”
Atashkar’s sentiments echo a prevailing discourse surrounding the integration of artificial intelligence and blockchain technology in the art world. As concerns about art theft and digital rights persist, the advent of blockchain offers a promising solution, ensuring immutable protection and traceability for digital artworks.
Parsa Haghighi, Founder of this photography competition commented: “In the luminous world of photography, where each image tells a story that transcends time and space, Awards.Photos stands at the forefront of a revolutionary chapter. Awards.Photos is proud to lead this transformative journey, championing the rights and creative freedom of photographers everywhere. Together, let’s capture the future, frame by frame, in a world where every photograph is an undisputed testament to its creator’s vision and integrity.”
Ilter Yilmaz, Ambassador of Awards.Photos Turkey, spoke passionately about the event’s broader mission, emphasizing the empowerment of artists in the NFT realm. “NFTs represent a paradigm shift in how we perceive and value digital art,” Yilmaz remarked. “Our goal is to democratize access to this burgeoning market, enabling more artists to assert control over their creations and derive value from their work.”
Against the backdrop of Istanbul’s rich cultural tapestry, the world’s first NFT photo competition stands as a testament to the city’s enduring legacy as a beacon of artistic innovation. As the boundaries between tradition and technology continue to blur, events like Awards.Photos serve as beacons of creativity, illuminating pathways to a more inclusive and equitable art world.
In conclusion, the convergence of photography and blockchain heralds a new frontier in artistic expression, one defined by collaboration, innovation, and boundless possibility. As artists and enthusiasts alike navigate this brave new world, one thing remains certain: the journey has only just begun.
O Novo Rio: Queer youth culture in the Brazilian supercity in 12 pictures
Photographer William Rice has shared an exclusive look at his recently-released independent photography zine O NOVO RIO (The New Rio) with Attitude.
The diverse range of photos taken between 2015 and 2022 – during the rule of the right-wing Jair Bolsonaro government – tell stories of Brazilian city Rio de Janeiro and its youth.
Shoot locations include the iconic Ipanema Beach, nature reserves to the far south of the city, the historic Downtown, various favelas and what is claimed to be the biggest queer club in South America.
The release, which features design by George Haughton, pays particular attention to Rio’s queer communities and how they ‘find agency and intimacy during times of oppression via a combination of identity and self-expression, new Brazilian fashion and the escapism of the night’, according to a book rep.
William Rice on O NOVO RIO
All the photographs in O NOVO RIO were take on trips made between 2015 and 2022. Rio always held a strong attraction which started when I saw the James Bond film Moonraker as a kid. I remember thinking that Rio looked incredible – there was a fight scene on the cable car up to Sugar Loaf Mountain which made the whole city look completely out of this world, literally like another planet. Even though I would later understand the limited narratives that Rio was afforded in western culture, it sowed the seeds of the city and Brazil being places I wanted to explore.
On my first trip to Rio I found it to multi-faceted, diverse and very real in a way at odds to what I’d been shown in media growing up in Ireland. The stories of Rio tended to be somewhat fantastical. Photography had a fairly narrow view of the city, fashion photography especially would show very specific body types with narrow gender/racial/sexual representations, often shot in quite fetishistic ways. This zine is called O Novo Rio (The New Rio), because the narratives within were new to me. I’m not claiming it to be a definitive take on a city that is not mine, but I wanted to explore alternative stories to the ones I’d seen before my first visit.
The photographs touch on the day to day issues that face it’s young stars: religion, politics, sexuality, gender and the realities of life on the peripheries of a huge urban environment. Photographed during the right wing Jair Bolsonaro government ‘O NOVO RIO’ pays particular attention to Rio’s queer communities and how they find agency and intimacy during times of oppression via a combination of identity & self-expression, new Brazilian fashion and the escapism of the night.
A hyper-politicised and hyper-religious society, Brazil reminded me of my own upbringing in Northern Ireland during The Troubles of the late 80s and 90s.
Here, Rice offers the inside story of 12 specially chosen images for Attitude.
‘Hugo, Copacabana, 2022′
This is Hugo Lopes, a ballet dancer based in Rio. We shot at night on Copacabana beach, there was just us and a bunch of kids playing football. A pretty normal night on the beach in Rio.
‘Marlon, Devils Beach, 2022’
Marlon Sales (@marlon.ssales) is a ballet dancer and model from Brazil. He threw some crazy shapes at a place called Devils Beach, a lesser known spot between Ipanema and Copacabana.
‘Beatriz, Barra De Guaratiba, 2022’
This is Beatriz Andrade (@trizandrads), who lives in Rio. She’s wearing a local independent clothing label called Cosmo, who take the colours, shapes and typography typically seen around the city and turn them into beachwear.
‘Ikaro, Barra De Guaratiba, 2022’
Rio is a huge city, you can drive at at least an hour from the centre before you reach the city limits. This is Ikaro Santilhana (@ikarosantilhana), a fearless model, shot in a beautiful place called Barra De Guaratiba, to the far south of Rio.
‘Niara, 2022’
Niara (@caianiara) is a model based in Rio and part of a vibrant trans community in the city. This image was shot a few weeks before the last Brazilian general election and during what would prove to be the dying days of the Bolsonaro regime. He was pro-actively homophobic and transphobic, but this image of Niara shows the resistance and unbreakable spirit of her community.
‘Bruno, Barra De Guaratiba, 2022’
Bruno (@criolofino) is a model and stylist and on this shoot we worked with a local stylist Rafaela Pinah who put together looks based on traditional Brazilian fabrics and styles.
‘Hugo, Copacabana, 2022’
Another shot of Hugo Lopes (@hugoloopes) dancing on Copacabana at night. His freedom of movement reflects something beautiful about the people of Rio and how they express themselves with warmth and openness.
‘Matheus 2022’
Matheus (@furodebala) is from Rio and is becoming a successful model and creative in Brazil. He works under the name ‘Furo De Bala’ which means bullet wound in English. We thought it would be fun to stencil the statue of Christ into his bleached hair.
In Brazil its become a recent trend for women to make their own bikinis out of electrical tape, and wear them to the beach for the day. We thought it would be cool to apply this idea to mens swimwear and ended up with something a little subversive.
‘Felipe, Barra De Guaratiba, 2022’
Felipe (@afrofe) is a model based in Sao Paulo and Rio. The sunshine and shadow of Rio’s tropical climate makes it a beautiful place to shoot.
‘The Week nightclub, 2017’
The Week is the biggest gay club in Brazil, each Saturday night it’s packed with thousands of gay men dancing until morning. It’s electric. Many clubbers dance until its time to go to church on Sunday morning.
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