PatriceChesse

Stéphane Couturier's photographs hinge on a Gordian knot: their hyperreal quality is inextricably entwined with a dissolution of form. This seemingly contradictory principle, at the heart of each of his pictures, is also a thread that runs through more than twenty years spent scrutinizing the surface of the visible, from the first series dedicated to abandoned industrial interiors, like the Renault factories in Boulogne-Billancourt (1993), to the organic and fluid volumes depicted in « Meltings », a series initiated in the mid 2000 that marks a shift in Couturier's work towards the digital, as well as beginning of his use of im

In 1980 French Magnum photographer Raymond Depardon was commissioned by The Sunday Times Magazine to photograph Scotland’s largest city: Glasgow, on the River Clyde. The city has long been known for its architectural heritage – from its majestic Victorian squares to stern rows of tenements and brutal industrial giants – much of this building being the product of the city’s great Victorian-era wealth. However, in spite of this prosperous past and the city’s pivotal role in Britain’s industrial and cultural development, numerous areas of Glasgow were – at the time of Depardon’s visit – pover

Bitter failure is a vital part of Barcelona-born, Oslo-based ex-architect Pau Buscató’s photography. He takes playful pictures of people, animals, and objects overlapping in amusing ways. They look Photoshopped, or at least staged, but aren't. Busctaó takes hundreds of attempts, and sometimes years, to snap the perfect shot. The results are like a good joke. As soon as you understand what's going on, you get butterflies. Buscató got his first serious camera in 2010, and almost immediately quit his nine-to-five to take photos full-time. He regularly spends seven hours a day walking the streets, and snaps his shutter 400 t