100 Art Photography - one hundred - VWorld

07/01/2026

🖼📸 Reflections in a nutshell: photography. For Dummies
By Vanessa Rusci 📸🖼

The algorithm is a powerful tool.
And like all powerful tools, if it is not understood, it can cause serious damage. Even in art.

Lately, I see wool threads appearing everywhere on photographs.

In itself, there is nothing wrong with experimenting. On the contrary. Every visual language is born through the exploration of what others have already done, if it is approached with study, respect, and a genuine desire to find one’s own voice.

The problem arises when the gesture is no longer research, but imitation.
When it is not an expressive necessity, but a shortcut.

When something is done because it “works,” because it “gets likes,” because “the algorithm rewards it.”
Anyone with even a minimally trained eye can immediately sense this.

Not out of malice. Simply because depth, even when still immature, can be felt. Just as its absence can be felt.
And the greatest risk is this: remaining trapped in small, self-referential gardens, nourished only by likes, without real growth, without genuine dialogue, without a trajectory capable of lasting over time.

Photography, when it truly becomes art, is a long journey.

Age does not matter. One can start even at sixty.
What matters is the approach. What matters is seriousness. What matters is culture, which is not an elitist luxury, but an act of responsibility toward oneself and toward the medium being used.
Studying does not impoverish you.
Studying sets you free.
And it makes the journey infinitely more engaging, stimulating, and meaningful for photography itself.
It will take time, yes. A lot of time.
But there are no alternatives that truly take you far.

A personal note, stated clearly and with respect:
please do not send me works that lack a serious project, or without a real commitment to undertaking a deep path in photography and art.
You may have started yesterday, but then what is required is humility and listening, not cleverness. Shortcuts lead nowhere.

One last thing.
As much as influencers may be criticized, one thing should be acknowledged: they work hard. They study the algorithm, they commit to what they do, they are consistent.
The problem is not visibility. The problem is confusing visibility with knowledge.

We are all, in different ways, victims of an illusion created by the algorithm: the illusion of believing we know.

True freedom begins when we accept that we still do not know enough.
For those who truly wish to explore the relationship between photography and manual intervention (thread, stitching, embroidery), here are some historical and contemporary references. After 2020, there are many more online. Do not search only on Google or Instagram and Facebook.

Use multiple search engines, multiple platforms, and above all, take the time to research who you are looking at.
Not to imitate, but to understand where we come from before deciding where to go.

Annegret Soltau
Lüneburg, Germany, 1946
Feminist photography movement
https://www.itintandem.com/it/art/self-1975-1976-annegret-soltau

Maurizio Anzeri
Loano, Italy, 1969
https://www.maurizioanzeri.com

Melissa Zexter
Providence, Rhode Island, USA
https://www.melissazexter.com

Joana Choumali
Abidjan, Côte d’Ivoire, 1974
https://www.joanachoumali.com

Han Cao
China
https://www.hanwriting.com

Julie Cockburn
London, United Kingdom, 1966
http://www.juliecockburn.com

Gemma Carly Pepper
London, United Kingdom
https://www.instagram.com/gempepper

Soltau and Warhol are fundamental to the historical genealogy.

Anzeri, Cockburn, Zexter, Choumali, and Han Cao define the post-2000 canon of the gesture where thread becomes a suture of the image.

21/12/2025

Published in Volume 5 of our magazine, the work of

Lorenzo Cicconi Massi
FB
Lorenzo Cicconi Massi Photographer
IG
https://www.instagram.com/cicconimassilorenzo_official

reminds us what photography can still do when it dares to slow down and truly look.

The Last Peasants is a long-term project that moves through time with the patience of the land itself. Begun in 2010, resumed in 2019, and completed in 2024, it portrays a suspended Italy, far from nostalgic folklore and close to the raw essence of rural life. These are not documentary subjects. They are totemic presences. Living memory. Bodies shaped by work, silence, weather, and dignity.

Cicconi Massi’s gaze is instinctive and brave. Sharp light, deep shadows, and free compositions that resist aesthetic comfort. His images do not describe reality, they evoke it. Each photograph feels like a visual poem, revealing an emotional truth that lingers beyond the frame.

This project is precious not only for its anthropological relevance, but for its poetic urgency. It restores visibility and dignity to what is often overlooked: the fragile relationship between humans and the land. In a time obsessed with speed and novelty, these images gently but firmly remind us of our roots and perhaps, quietly, of our direction.

A necessary body of work.
A photographer who listens to time, instead of chasing it.

Vanessa Rusci IG
Curator of the magazine

Browse the magazine via the link in bio.

16/10/2025

At 100 Art Photography we have had the pleasure of publishing the work of Petra Jaenicke, an artist whose vision embodies the essence of contemporary photographic research.

Over the years, Petra has developed a coherent and profound body of work that investigates the boundaries between reality and imagination.
According to her official biography, in 2016 she was featured by Your Art Gallery (New York), where her work received an award in the Surreal Photography Contest.
In 2017, she received an Honorable Mention at the Chromatic Awards in the Fine Art category.
Her exhibitions in Germany — Heaven and Earth, Vibrance, and Urban Jungle — reflect a constant dialogue between poetic vision and experimental technique.

In 2019, Petra joined the NNC Gallery London Project, becoming part of a community of artists dedicated to innovation and conceptual photography.
Her works have since appeared in several issues of 100 Art Photography, confirming her as one of the most distinctive voices in European experimental photography.

We also had the honour of presenting her research to the Prix Elysée selection, one of Europe’s most respected photography awards — a further step in the international recognition of her artistic language.

Petra Jaenicke reminds us that photography is not merely an act of seeing, but an act of consciousness — a poetic and intellectual space where image and thought become one.

04/09/2025

100 Art Photography – Vol.1 (2022)
Featured Artist: Dimitris Lapousis – Visual Artist, Greece

Dimitris Lapousis is a multifaceted Greek artist whose practice spans painting, photography, iconography, and music. He graduated with distinction from the Department of Art Sciences at the University of Ioannina on a State Scholarship for academic excellence. He later studied iconography at the Municipal Gallery of Larissa and holds a degree in Classical Vocal Performance from the Municipal Conservatory of Larissa. For almost a decade, he has been teaching drawing and painting in the cultural infrastructures of the Municipality of Larissa. He is a member of the Hellenic Photographic Society (ΕΦΕ) and currently a senior student at the School of Fine Arts of the University of Ioannina, majoring in Painting and Photography. His works have been awarded in national competitions and are part of both private and public collections in Greece and abroad.

His project “This is not a stallion” is an ambitious and conceptually charged portfolio. Each portrait is built from one hundred photographs of animals belonging to the same species but differing in breed, color, age, and living conditions. Through layering and transparency, Lapousis creates hybrid entities that evoke Plato’s theory of Forms: the resulting image is not a literal likeness but the universal essence of the animal.

The hazy backgrounds recall the environments where these animals lived — meadows of New Zealand, farms in Germany, slaughterhouses in the Netherlands. The title, influenced by Magritte, reminds us that what we see is not a stallion but the imprint of its archetypal form. These works are reflections on essence, memory, and the fragile balance between individuality and universality.

Discover more about his work:
IG:
FB: Lapousis
Website: dlapousisart.webnode.gr

We are revisiting the artists of our first volume.
Only ten were selected to represent some of the most compelling photographic research of that year.
Dimitris Lapousis stands out for the depth of his intellectual approach and the way he merges philosophy and photography into a single visual language.

⏰⏰⏰⏰Want to be the next featured artist? Visit our website and apply now!
https://www.nonamecollectivegallery.co.uk/100vworldartphotographymagazine

03/09/2025

No name Collective Art Gallery London Project - VWorld EU project -
Vandendriessche

Barbara Vandendriessche | NNC Curators’ Pick

Barbara Vandendriessche is a Belgian artist whose practice moves between photography, theater, and sculpture. With a background of more than 20 years as a theater director and stage designer, she brings a strong sense of visual dramaturgy into her photographic work.

Her staged images focus on psychological and physical vulnerability, often working with dancers and actresses to express fragility, pain, and resilience. Alongside photography, her sculptures explore themes of damage and repair, always leaving space for a spark of light within broken forms.

👉 Discover her profile:
https://www.nonamecollectivegallery.co.uk/portfolio-1/barbara-vandendriessche

28/08/2025

📸 100 Art Photography – Vol.1 (2022)
Featured Artist: Enzo Crispino – Visual Artist, Italy 🇮🇹

Enzo Crispino (b. 1964, Frattamaggiore – Naples) is a self-taught photographer who lives and works in the province of Reggio Emilia. His work has been widely recognized both in Italy and abroad: his projects are preserved at the CSAC Archive of the University of Parma, and two Italian museums hold his works in their collections. He has also published two important books with Corsiero Editore: La bellezza perduta and Otto ore. crispino

Crispino does not define himself as a photographer, but as an interpreter of Photography. His artistic journey has been acknowledged with numerous awards, including the Diploma of Merit in Art by the International Academy of Poetry and Contemporary Art of Rome (2018, 2019, 2020), and his admission as Academic Member of Merit at the International Academy of Modern Art in Rome with the title of Master of Photographic Art (2020). His career includes selection by Vogue Italia, long-standing collaboration with the Art+Commerce agency in New York, and representation by Artifact Gallery (New York) and Galleria Duepuntozero (Bergamo).

His photographic research is often centered on the complex relationship between human presence and territory. In recent years, he has expanded his inquiry into Pictorialism and Citationism, exploring photography as both visual language and cultural memory.

The project “4.0”, presented in 100 Art Photography – Vol.1, is composed of 30 photographs that challenge the conventions of industrial photography. Instead of documenting machinery in a purely functional way, Crispino searches for hidden fragments of color in environments dominated by gray. Through saturation and careful framing, he isolates small details of tools and components, revealing unexpected aesthetic qualities and proposing an ethical reflection on spaces usually considered devoid of cultural content. In his images, industry is no longer anonymous: it becomes a stage where beauty can unexpectedly emerge.

👉 Discover his work and follow his vision:
🔗 IG: .crispino

🔗 Website: enzocrispino.com

🔗 NNC Gallery Collective 18: Enzo Crispino

✨ We are revisiting the artists of our first volume. Only 10 were selected to represent some of the most compelling photographic research of that year — projects that continue to resonate today.

18/08/2025

Call for Artists – 100 Art Photography Vol.6 (2025)

We are now accepting submissions for Volume 6 of 100 Art Photography – Mag & Book Project.
Every volume presents only 10 artists selected for the originality, depth, and consistency of their photographic research.

📅 Deadlines

Reduced Fee: until 2 October 2025

✅ What we are looking for:
Contemporary photography projects with a strong research approach, able to open new perspectives in visual language.

🌍 Selected artists will be featured in the international magazine and in the NNC Gallery London Project, gaining visibility among collectors, curators, and professionals.

👉 Submit your work here:https://www.nonamecollectivegallery.co.uk/100vworldartphotographymagazine

18/08/2025

📸 100 Art Photography – Vol.1 (2022)
Featured Artist: Anna Ferrara – Visual Artist, Italy 🇮🇹

Anna Ferrara’s photographic research speaks directly to the unconscious. Her eye goes beyond conventional canons, offering fresh and unexpected images that reveal both virtues and flaws of our contemporary society. Through visual sequences and variations, she investigates time, memory, and perception with a rare ability to observe reality critically and poetically.

We selected her for 100 Art Photography because her work embodies a consistent, rigorous practice that does not chase trends but opens new perspectives in contemporary photography. Her voice is intimate yet universal, making her one of the most compelling researchers of our time.

✨ This post is part of the Vol.1 (2022) presentation series.
Each volume features only 10 photographers we consider among the most significant contemporary research projects submitted to us.
Explore all artists from Vol.1 (2022)
READ here:
https://www.nonamecollectivegallery.co.uk/100photomag22

📍 Call for Artists – Early Bird Fee until August 15
Submit your project now and be part of the next issue of 100 Art Photography.
👉 Details & application: https://www.nonamecollectivegallery.co.uk/100vworldartphotographymagazine

13/08/2025

🖤 “In every vision of doom lies a hidden longing for rebirth.”

Emely Majrell (The Fleurs, Sweden) explores the apocalypse as cultural memory, weaving personal photographs, religious symbols, and fragments of forgotten narratives.

Her series Endtime Fantasies is a meditation on fear, myth, and the human need to imagine the end.

📖 Featured in 100VWorld Art Photography – Volume 5
🎨 See more of her haunting visual language:
🔗 Volume 5
🔗Link in bio

Artist

05/08/2025

Endtime Fantasies by Emely Majrell

What does the apocalypse really mean?
For Majrell, it’s not just an ending—it’s a psychological landscape.

Through layered photomontages, veiled figures, and fragments of Revelation, she reveals the fears and desires hidden in our collective imagination.

Each image is a confrontation:
⚡ What do we fear?
⚡ What do we hope for?
⚡ Why do we need to imagine the end?

👉 Featured in 100VWorld Art Photography – Volume 5
Discover more: Volume 5
🔗https://www.nonamecollectivegallery.co.uk/vol-5-100-art-mag-1/lorenzo-massi-cicconi

Artist
https://www.nonamecollectivegallery.co.uk/vol-5-100-art-mag/the-fleurs-

02/08/2025

Vol 5 is out! Read HERE for free: https://www.nonamecollectivegallery.co.uk/vol-5-100-art-mag-1/lorenzo-massi-cicconi

02/08/2025