Persia Campbell's Liminal Spaces explores the border between Ciudad Juárez, México, and El Paso, USA. Not as a fixed line, but as a shifting threshold where identity remains unresolved. In these in-between spaces, belonging is suspended, shaped by the constant negotiation of language, culture, and movement. 

Defined by saturated color and carefully staged interiors, the image transforms a domestic setting into something psychologically charged. Everyday objects, furniture, light, personal traces, become markers of presence and displacement, constructing a space that feels both intimate and estranged.

Within the series, these environments operate as liminal zones: spaces of transition where the self is continuously rearranged, holding the tension of being neither here nor there. Through a visual language that blends theatricality with lived experience, Campbell offers an entry point into a world that is at once deeply personal and structurally complex.

Shane Lynam’s Pebbledash Wonderland (2014 –2024) is a photographic account of his adopted home city, Dublin. The work builds on Lynam’s long-term engagement with urban space across Europe, pushing his practice in new subjective and narrative directions. Pebbledash Wonderland is Lynam’s third major body of work and follows on from his acclaimed book, Fifty High Seasons, about modernist French resorts, published in 2018, and Contours exhibited in 2013. Returning to Dublin in 2012, Lynam began an intensive process of mapping his encounters with the streets and buildings that make up the city’s varied architectural environment. Spanning Ireland’s post-crisis years, and extending into the current era of multinational fuelled economic expansion, he captures a time of profound transformation in Dublin as new construction disrupts established neighbourhoods and communities. However, Pebbledash Wonderland is not a polemic on development. Formed by the repeated, linked actions of walking and photographing, the work is a fundamentally personal, intuitive representation of the city, reflecting Lynam’s dual position as observer and participant. By evoking the intangible sense of being present in the city, he acts as a witness to change, communicated through the multiple textures of place. Pebbledash Wonderland offers a timely reminder that the complex elements of a contemporary city are almost impossible to grasp in their entirety but must be felt, lived, and recorded, in small, seemingly insignificant moments. 

Publised by Setanata books. 

 We Were Born Before the Wind, an exploration of solitude and melancholy in the mysterious landscape of Portugal.

The photographs Prestes took of his hometown, roaming in the dark through small villages, mountains and desolate fields during the colder months of the year, create cinematic and intriguing scenes - there’s something ominous but also calming about the quietest hours captured by Prestes. 

Henri Prestes is a Portuguese fine art photographer. His work focuses on capturing cinematic fleeting moments and exploring narratives of solitude and melancholy. He’s the Gold Cube Winner of the ADC Awards in 2021 with his Conceptual Series and the Bronze Cube Winner in 2022 and 2020. He’s had his work exhibited in the UK, US, Portugal and Spain.

Specifications

• Hardcover 
• 230 x 280 mm
• Two different paper stocks inside
• 112 pages
• 50 images

Here.Still. (Part of the Unmoored Project) 2015-2025.

In the winter of 2000, when I was nineteen and a university student in Canada, my father suddenly passed away. At a loss for what to do next, upon graduating in 2002 with a degree in History, I moved back to my birthplace of Tokyo to start a career in finance.
A dozen years later, my career had taken me to New York, where it had reached a crossroad: I was burned out from the stresses of work and had come out of a long-term relationship. I gave up the lease on my apartment, placed my things in storage and looked ahead to an uncertain future. I realized that I had never reconciled with the direction of my life after my father’s death. In 2015, I set out on the road, with just a backpack and suitcase, unsure where my path would take me.
My initial destination was the Southwest United States. There, I met the photographer Sam Abell. Under his tutelage, I found a photograph from 2009 that I had made in a hotel room at Lake Louise, Canada, a place my father used to take our family. I remembered being there, alone in that room and looking out at the late summer twilight and the turquoise lake and longing to see my father again.
I continued my journeys for nearly a thousand days, and as I did, I made photographs where I felt the presence of humanity inside a space, and the stillness of life unfolding beyond the window- inaccessible, as if on a screen in an empty theatre. I recalled my childhood growing up in the organized chaos that is Tokyo, looking out on the enormous city from my bedroom, which provided a safe distance from which to view the world, and my days trapped inside a crowded office, wanting to be outside.
There is a Japanese word: nukumori, a lukewarmness that might refer to the presence of someone who occupied a place but had departed: an empty chair, a tea cup, a potter’s work table, the inside of a bus or train car, and of course, the many hotels and motels where I found myself. Nothing in the series is staged; everything is just as I found it in real life.
The series has been exhibited in venues around the world, and a monograph is in the works, planned for release in 2026.
Here.Still.（別名 Unmoored、日本名「静寂はここに」）2015-2025.

Humidity has been condensed on a metal surface and the droplets of water have started to move the dirt on the surface. In Sami Parkkinen's photograph, the iconic star, one of the many symbols that link the car to outer space, is missing from the Mercedes-Benz front badge. In his essay “New Citroën” (1957), Roland Barthes depicts how the seamless and smooth surface of the contemporary car distracts the spectator from realizing that the object is a machine designed, constructed and assembled by humans. For Barthes, the surface of the Citroën DS signifies a transition toward a new phenomenology of production and objects. It marks a transition from a world where artefacts are constructed by assembling parts together, to one where artefacts hold together “by sole virtue of their wondrous shape”. Barthes writes that DS has descended among us from the skyscraper of Metropolis (1927) by Fritz Lang.

This “new phenomenology” concerns the relationship between car, technology and science fiction. In the latter, the science and technology coexist in a seamless and perfected manner – or, as Arthur C. Clarke puts it, as “magic”. The most magical futures, envisioned in science fiction, have driven the historical momentum of automobilization. When optimistic futures have been exposed as impossible ones, the omnipresent fear of the future becomes the generator for more visions. Bulletproof windshields are assembled on this magical object, and control of the vehicle is about to be fully automated. The surface of the magical object is smooth and polished. The surface reflects the image of its surroundings – the petroleumscape – and accumulates the material from it. The virtue of the wondrous shape falls apart. The soot, that consists of the smallest particles of incomplete combustion, covers the surface. The reflection shows also that the car is a planetary machine. This machine has had the power to force societies to tear apart the surface of the planet. Meanwhile, the exhaust gases from this machine travel to the upper atmosphere, where they will lurk future generations.

Text: Frans Autio Autopilot (2024→) is a collaborative project by photographer Sami Parkkinen and doctoral researcher Frans Autio. The project brings the methods of photography and environmental humanities together. Autopilot is focusing on the infamous objects made of metal and plastics that are overwhelming our streets: the passenger cars, and analyses the cultural, environmental, temporal and aesthetic qualities of them.

Finnish photographer Sami Parkkinen (born 1974) employs photography and sculpture to investigate the human consciousness and the need to rebuild society. Parkkinen's work has featured in international joint and solo exhibitions since 2009 including The Taylor Wessing Portrait Prize exhibition at National Portrait Gallery, London in 2015 and Circulation(s) – Festival de la Jeune Photographie Européenne, Paris in 2016. During both of these exhibitions, Parkkinen's works were displayed in large-scale poster reproductions at underground stations in Paris and London. Parkkinen has also had solo shows at the Finnish Museum of Photography in 2010 and most recently at the National Museum of Finland in 2021. 

Kevin Lozano- Galllery manager

To quote Dorothea Lange: “Photography takes an instant out of time, altering life by holding it still.” That feeling resonates throughout this book. With each turn of the page, I sense a push and pull of time unfolding before my eyes. The work is filled with black-and-white photographs on lovely newsprint, interwoven with log entries printed on semi-luster cotton stock. Bieke Depoorter offers the reader insight into her ever-changing relationship with photography, astronomy, and memory. Images that evoke a mystifying familiarity are juxtaposed with personal reflections on many poignant moments in her life. The book poses a quiet question: “What are my most treasured memories? And will I remember them as clearly as I do now?”

Staff Pick- Kevin Lozano 

Strange Love- Seamus Murphy- Setanta Books 

Opening a photo book, the last thing I look at is the foreword. The first thing I notice is the quality of the print between my fingers—and Setanta did an amazing job with this one. As I flip through, I’m struck by page after page of familiar emotions: nostalgia, joy, curiosity, and even a sense of self-indulgent discipline. It feels almost as if I’m walking through a new city while on the phone with an old friend, scrutinizing every passerby and describing what I see as it unfolds before me.

Seamus Murphy creates an eerie gradient where two completely different situations blend together effortlessly. By the time you reach the end, you find yourself drawn back to the beginning, ready to dig deeper for a fuller understanding of what you’ve just experienced.

Staff pick- Kevin Lozano

Dandy Lion: The Black Dandy and Street Styl- Shantrelle P. Lewis

From Aperture 

Vincent Fournier Chamber of Deputies [annex IX] #2, Brasília on display at the Metropolitian Museum. 

This intimate photograph by French artist Vincent Fournier portrays the interior of the Annex of the Chamber of Deputies in Brasilia, one of many iconic buildings in a city almost entirely designed by the country’s great architect Oscar Niemeyer (1907-2012). Despite being taken almost fifty years after the building’s completion, the image is ambiguous in its age. It is this careful control of light that enables the viewer to recognize the many different textures that correspond to the different materiality. The light, the choreographic location of the body, and the shooting point produce a perfectly balanced image that enacts a hyperreality closer to a stage set-up. The artist offers a human dimension as a foil to the urban-scale modernist event of Niemeyer’s Brasilia; a little and lonely human presence in an architecture so grand.

Part of the series “Brasilia” is part of the permanent collection of the Metropolitan Museum of Art in New York (text available on the MET website) and the LVMH collection in Paris. ”

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Wires Crossed by Ed Templeton, a publication that brings together over two decades of film photography, drawing, and text. Offering an unfiltered look into the artist’s life and the subcultures that shaped it.

Shot entirely on film, the images carry a raw, immediate quality, marked by motion, imperfection, and intensity. Moving between candid portraits, fragments of daily life, and moments of impact, the book captures a world defined by skate culture, risk, and physicality, where traces of injury, endurance, and excess become part of the visual language.

Through its sequencing, Wires Crossed unfolds as a deeply personal archive. The publication offers an intimate entry point into a tight-knit community, revealing bonds of friendship and companionship within an environment that often feels inaccessible from the outside. At once diaristic and immersive, it reflects a distinctly DIY ethos while tracing Templeton’s evolution as an artist across time and place.

Positioned within contemporary photography, Wires Crossed contributes to conversations around subcultural documentation and autobiographical practice—capturing a specific moment and mentality with honesty and immediacy.