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FLORA
Marcel van Beek
Price: £750
"Chlorophyll Trance II." 2026
Marcel van Beek (b. 1990, Bonn) is a Leipzig-based German visual artist whose photography
operates at the intersection of fine art and scientific observation. Educated at Alanus University of Arts and Social Sciences (BFA with distinction) and informed by an early formation in scenic design, he develops images of formal rigour, tactile precision, and understated cinematic tension.
His practice investigates the ways in which surfaces record time - in stone, bark, concrete, or
water - turning micro-topographies into structures that suggest architecture, notation, and maps. Frequently shaped through dialogue with scientific institutions, his projects examine the human condition in relation to ecological limits, while remaining rooted in material presence and exacting composition. Recent bodies of work use strictly in-camera methods to disclose hidden geometries and perceptual thresholds where depiction gives way to abstraction.
Van Beek has presented solo exhibitions at the German Federal Environment Agency, the
Helmholtz Centre for Environmental Research (UFZ), and Leipzig University. His work has
gained increasing international attention, most recently through multiple Platinum distinctions at the 2026 MUSE Awards and an Artsy Curator’s Pick. His photographs are held in public collections, including Leipzig University, while his artist publications circulate internationally in museum and academic libraries (Basel, Vienna, Berlin, Düsseldorf). He is represented internationally via Cuencas Art Gallery on Artsy and Singulart’s curated In Focus programme.
"Utilising "botanical apertures" and intricate bokeh, the work transcends traditional representation to reveal a secondary layer of experience. Between the soft veils of light, "insects" and "water droplets" emerge, inviting the viewer into a trance-like state in which the plant is recognised as a living, breathing peer."
"Chlorophyll Trance II." 2026
Marcel van Beek (b. 1990, Bonn) is a Leipzig-based German visual artist whose photography
operates at the intersection of fine art and scientific observation. Educated at Alanus University of Arts and Social Sciences (BFA with distinction) and informed by an early formation in scenic design, he develops images of formal rigour, tactile precision, and understated cinematic tension.
His practice investigates the ways in which surfaces record time - in stone, bark, concrete, or
water - turning micro-topographies into structures that suggest architecture, notation, and maps. Frequently shaped through dialogue with scientific institutions, his projects examine the human condition in relation to ecological limits, while remaining rooted in material presence and exacting composition. Recent bodies of work use strictly in-camera methods to disclose hidden geometries and perceptual thresholds where depiction gives way to abstraction.
Van Beek has presented solo exhibitions at the German Federal Environment Agency, the
Helmholtz Centre for Environmental Research (UFZ), and Leipzig University. His work has
gained increasing international attention, most recently through multiple Platinum distinctions at the 2026 MUSE Awards and an Artsy Curator’s Pick. His photographs are held in public collections, including Leipzig University, while his artist publications circulate internationally in museum and academic libraries (Basel, Vienna, Berlin, Düsseldorf). He is represented internationally via Cuencas Art Gallery on Artsy and Singulart’s curated In Focus programme.
"Utilising "botanical apertures" and intricate bokeh, the work transcends traditional representation to reveal a secondary layer of experience. Between the soft veils of light, "insects" and "water droplets" emerge, inviting the viewer into a trance-like state in which the plant is recognised as a living, breathing peer."
Roman Brosowski
Price: Upon request.
"Another Day in a Valley." 2026
"Born in 1980 in Germany, I grew up in a rural area. Since I was 9 years old, I've been traveling the world with my own camera. Initially, I focused mainly on nature and astrophotography. In the meantime, however, I've expanded into other areas. Since 2014, my wife and I have run an art studio and an exhibition of dragons and fantastical creatures."
"Another Day in a Valley." 2026
"Born in 1980 in Germany, I grew up in a rural area. Since I was 9 years old, I've been traveling the world with my own camera. Initially, I focused mainly on nature and astrophotography. In the meantime, however, I've expanded into other areas. Since 2014, my wife and I have run an art studio and an exhibition of dragons and fantastical creatures."
Joshua Obando
Price: £75
"Skeletons." 2026
"I am a Turlock-based film/digital photographer born and raised in California’s Central Valley. I view my world seeking the extraordinary amongst the ordinary. My work has delved into many other aspects but revolves around documenting the world around me seeking a sense of abstractness with my subject matter, composition, color, and black/white. Upon completion of the spring semester 2026, I will receive a certificate of completion in Photography from Modesto Junior College."
"My work revolves around the relationship with the natural/urban landscape and how light interacts in these settings. I aim to give a sense of abstraction and otherworldly nature with how I compose in my photography. I study the world around me and photograph to show details that are easily overlooked."
"Skeletons." 2026
"I am a Turlock-based film/digital photographer born and raised in California’s Central Valley. I view my world seeking the extraordinary amongst the ordinary. My work has delved into many other aspects but revolves around documenting the world around me seeking a sense of abstractness with my subject matter, composition, color, and black/white. Upon completion of the spring semester 2026, I will receive a certificate of completion in Photography from Modesto Junior College."
"My work revolves around the relationship with the natural/urban landscape and how light interacts in these settings. I aim to give a sense of abstraction and otherworldly nature with how I compose in my photography. I study the world around me and photograph to show details that are easily overlooked."
Duncan Smith
Price: £275
"Horse Chestnut Stem No3." 2026
"Horse Chestnut Stem No3." 2026
Duncan Smith
Price: £275
"Horse Chestnut Stem No2." 2026
"This series presents an intimate botanical study of horse chestnut buds at the point of early spring growth. Fine surface details - downy hairs, lacquered skins, and emerging structures - are rendered with clarity, balancing organic softness with sculptural form. Familiar as a quintessential British tree, the horse chestnut is re-seen here as something more exotic and architectural. The work draws attention to a fleeting stage of growth that is often overlooked. Sourced responsibly, each stem is photographed in isolation and at scale, allowing it to function both as specimen and as presence. The works can either stand individually or as a triptych, inviting a slower, more comparative analysis."
"Horse Chestnut Stem No2." 2026
"This series presents an intimate botanical study of horse chestnut buds at the point of early spring growth. Fine surface details - downy hairs, lacquered skins, and emerging structures - are rendered with clarity, balancing organic softness with sculptural form. Familiar as a quintessential British tree, the horse chestnut is re-seen here as something more exotic and architectural. The work draws attention to a fleeting stage of growth that is often overlooked. Sourced responsibly, each stem is photographed in isolation and at scale, allowing it to function both as specimen and as presence. The works can either stand individually or as a triptych, inviting a slower, more comparative analysis."
Duncan Smith
Price: £275
"Horse Chestnut Stem No1." 2026
Duncan Smith began his photographic career in London in the late Eighties, assisting established photographers at a time when studio practice was entirely manual and exacting. Working with large-format cameras and complex lighting, he developed a lasting sensitivity to composition, material and light.
After establishing a studio in Clerkenwell, he produced still-life advertising imagery for international brands, later expanding into architectural interiors, portraiture and film across Europe, the United States and Asia.
His current work, under the banner of Botanographia, returns to still life through sustained botanical study, bringing together long-held technical discipline with quieter, seasonal observation.
"Horse Chestnut Stem No1." 2026
Duncan Smith began his photographic career in London in the late Eighties, assisting established photographers at a time when studio practice was entirely manual and exacting. Working with large-format cameras and complex lighting, he developed a lasting sensitivity to composition, material and light.
After establishing a studio in Clerkenwell, he produced still-life advertising imagery for international brands, later expanding into architectural interiors, portraiture and film across Europe, the United States and Asia.
His current work, under the banner of Botanographia, returns to still life through sustained botanical study, bringing together long-held technical discipline with quieter, seasonal observation.
Miller Warren
Price: Upon request.
"Spring Walk." 2015
"Spring Walk." 2015
Miller Warren
Price: Upon request.
"Spring Walk." 2015
"Spring Walk." 2015
Miller Warren
Price: Upon request.
"Spring Walk." 2015
"Hello, my name is Miller and I started taking photos in 2014 when a prior babysitter and friend, who happened to be a photographer, gave me her spare camera because she saw potential in me. During this period, I experimented with landscapes, abstract, and portraits before taking a ten-year interval to focus on other things, primarily writing. But I received the "photography bug" when I travelled to a town close to the Allegheny Forest, which spurred my interest once again in an art I had only briefly tried but loved years before. When I arrived at the cabin, I had also packed many books with me, and one in particular, "The Book of Changes", made me want to infuse "Yin/Yang" philosophical approaches into my life, the photos I was taking, and other art I was working on. Other mediums of art that inspire me include film, music, architecture, and sculpture."
"Spring Walk." 2015
"Hello, my name is Miller and I started taking photos in 2014 when a prior babysitter and friend, who happened to be a photographer, gave me her spare camera because she saw potential in me. During this period, I experimented with landscapes, abstract, and portraits before taking a ten-year interval to focus on other things, primarily writing. But I received the "photography bug" when I travelled to a town close to the Allegheny Forest, which spurred my interest once again in an art I had only briefly tried but loved years before. When I arrived at the cabin, I had also packed many books with me, and one in particular, "The Book of Changes", made me want to infuse "Yin/Yang" philosophical approaches into my life, the photos I was taking, and other art I was working on. Other mediums of art that inspire me include film, music, architecture, and sculpture."
Hari Prasad Karnam
Price: Upon request.
"Cept-2." 2026
Hari Prasad Karnam is an Indian‑born photographer and visual storyteller based in Missouri, USA. Working in Information technology, he bridges scientific observation with poetic visual expression. His work explores the intersection of nature and consciousness, translating organic structures into metaphors of identity, memory, and transformation. Through conceptual digital manipulation, he reimagines natural subjects as emotional landscapes that question perception and continuity.
"My work explores the emotional and psychological dimensions hidden within natural forms. I use flowers and botanical structures not as decorative subjects, but as metaphors for inner states - memory, fragmentation, resilience, and transformation. Through digital manipulation and conceptual reinterpretation, I shift familiar organic shapes into altered realities, revealing the tension between what is seen and what is felt. Each image becomes a quiet narrative about change: how living forms hold beauty and vulnerability at the same time, and how nature mirrors the fluid, often fragile architecture of human experience."
"Cept-2." 2026
Hari Prasad Karnam is an Indian‑born photographer and visual storyteller based in Missouri, USA. Working in Information technology, he bridges scientific observation with poetic visual expression. His work explores the intersection of nature and consciousness, translating organic structures into metaphors of identity, memory, and transformation. Through conceptual digital manipulation, he reimagines natural subjects as emotional landscapes that question perception and continuity.
"My work explores the emotional and psychological dimensions hidden within natural forms. I use flowers and botanical structures not as decorative subjects, but as metaphors for inner states - memory, fragmentation, resilience, and transformation. Through digital manipulation and conceptual reinterpretation, I shift familiar organic shapes into altered realities, revealing the tension between what is seen and what is felt. Each image becomes a quiet narrative about change: how living forms hold beauty and vulnerability at the same time, and how nature mirrors the fluid, often fragile architecture of human experience."
Darija Kozlitina
Price: £100
"Silent rhythm." 2017
"Silent rhythm." 2017
Darija Kozlitina
Price: £100
"Interference." 2024
Darija Kozlitina is a violist with the Sinfonieorchester Basel and an amateur photographer. She was born in Riga, Latvia, in 1984. Darija discovered photography in her teenage years and began capturing anything that caught her eye. She creates photographic compositions across different genres, including street photography, nature and landscapes, portraits, and orchestra life, with a particular focus on backstage moments. Her greatest passion, however, is street photography.
Previously a member of the Rotterdam Philharmonic Orchestra, Darija traveled extensively across different countries and continents. During her free time between rehearsals and concerts, she devoted herself to exploring the streets of each city she visited. She searched, observed, and captured everyday life - moments, emotions, gestures, moods, and details that might otherwise go unnoticed. Rather than focusing on popular tourist attractions, she was drawn to experiencing and documenting the authentic atmosphere of daily life and candid street moments. To this day, street photography remains her deepest artistic passion.
"I photograph what often goes unnoticed. My work moves between the street, the backstage world of orchestras, and portraiture. I am drawn to quiet moments, gestures, and atmospheres that reveal something essential and human. Through observation and simplicity, I seek to capture authenticity - where the ordinary becomes meaningful."
"Interference." 2024
Darija Kozlitina is a violist with the Sinfonieorchester Basel and an amateur photographer. She was born in Riga, Latvia, in 1984. Darija discovered photography in her teenage years and began capturing anything that caught her eye. She creates photographic compositions across different genres, including street photography, nature and landscapes, portraits, and orchestra life, with a particular focus on backstage moments. Her greatest passion, however, is street photography.
Previously a member of the Rotterdam Philharmonic Orchestra, Darija traveled extensively across different countries and continents. During her free time between rehearsals and concerts, she devoted herself to exploring the streets of each city she visited. She searched, observed, and captured everyday life - moments, emotions, gestures, moods, and details that might otherwise go unnoticed. Rather than focusing on popular tourist attractions, she was drawn to experiencing and documenting the authentic atmosphere of daily life and candid street moments. To this day, street photography remains her deepest artistic passion.
"I photograph what often goes unnoticed. My work moves between the street, the backstage world of orchestras, and portraiture. I am drawn to quiet moments, gestures, and atmospheres that reveal something essential and human. Through observation and simplicity, I seek to capture authenticity - where the ordinary becomes meaningful."
Jean Guy Lathuilière
Price: Upon request.
"Untitled." 2002
Jean Guy Lathuilière also uses particular and primitive shooting and printing techniques: camera obscura equipped with a pinhole, simple camera povera, SLR camera. He has adopted printing techniques such as gum bichromate, salted paper and platinum-palladium prints, mainly favouring experimental research. As photography is part of his everyday world, he has focused part of his work on thematic series, seeking to deliver an unusual vision of the world in a resolutely intimate light. JG Lathuilière's photographs have been exhibited and published in France and abroad. They also feature in public and private collections.
"Untitled." 2002
Jean Guy Lathuilière also uses particular and primitive shooting and printing techniques: camera obscura equipped with a pinhole, simple camera povera, SLR camera. He has adopted printing techniques such as gum bichromate, salted paper and platinum-palladium prints, mainly favouring experimental research. As photography is part of his everyday world, he has focused part of his work on thematic series, seeking to deliver an unusual vision of the world in a resolutely intimate light. JG Lathuilière's photographs have been exhibited and published in France and abroad. They also feature in public and private collections.
Jean Guy Lathuilière
Price: Upon request.
"Untitled." 2007
"After a long period of passionate relationship with the image, I know without doubt more clearly why and how this idyll came about, and with what intensity the spell continued to hold me so durably captive, deprived of any will to break this freely consented dependence. I had discovered quite early on the truths of etymology and the obviously logical reasons for creating a word to designate a new science or a new practice. This revelation, the true meaning of the word photography, plunged me into a deep reverie: photography, the art of writing with light... Is there no more beautiful ink than light? Is there no stranger paradox than that which describes the mutation of a limpid, dazzling wave into an obscure flux, deposited furtively, magically on the sheet and engraved in platinum or silver salts? The reverie persisted and I became a photographer."
"My approach to photography is intimately linked to a contemplative stance and a fierce quest for silence. In photography, I believe it is essential to evoke the passage of time, not only to appreciate a strict and cold historical chronology, but above all to evoke duration and the passage of time itself: the eye stops, the gaze rests for a brief moment, and the image is born of this fleeting, fortuitous and often unhoped-for encounter."
"Untitled." 2007
"After a long period of passionate relationship with the image, I know without doubt more clearly why and how this idyll came about, and with what intensity the spell continued to hold me so durably captive, deprived of any will to break this freely consented dependence. I had discovered quite early on the truths of etymology and the obviously logical reasons for creating a word to designate a new science or a new practice. This revelation, the true meaning of the word photography, plunged me into a deep reverie: photography, the art of writing with light... Is there no more beautiful ink than light? Is there no stranger paradox than that which describes the mutation of a limpid, dazzling wave into an obscure flux, deposited furtively, magically on the sheet and engraved in platinum or silver salts? The reverie persisted and I became a photographer."
"My approach to photography is intimately linked to a contemplative stance and a fierce quest for silence. In photography, I believe it is essential to evoke the passage of time, not only to appreciate a strict and cold historical chronology, but above all to evoke duration and the passage of time itself: the eye stops, the gaze rests for a brief moment, and the image is born of this fleeting, fortuitous and often unhoped-for encounter."
Aaliyah Fawkes (LEO)
Price: £500
"Branching Out." 2018
LEO is a queer Bahamian artist and photographer. They integrate touches of Bahamian experiences and culture within their art. They aspire to show others who indulge in their artistic practice how they capture moments, snapshots of life, and the beauty of everyday objects through their eyes.
LEO’s photography has been displayed in exhibits and galleries such as; Nocturne - The Eyelevel Reshelving Initiative: About Town (2025), Neilson Park Creative Centre - Everyday Monuments (2026), Langley Arts Council - My Heritage (2026), Carlotta Gallery - Flora (2026), and Women’s Photo Festival - Postcards: Images and Whispers (2026).
"Branching Out." 2018
LEO is a queer Bahamian artist and photographer. They integrate touches of Bahamian experiences and culture within their art. They aspire to show others who indulge in their artistic practice how they capture moments, snapshots of life, and the beauty of everyday objects through their eyes.
LEO’s photography has been displayed in exhibits and galleries such as; Nocturne - The Eyelevel Reshelving Initiative: About Town (2025), Neilson Park Creative Centre - Everyday Monuments (2026), Langley Arts Council - My Heritage (2026), Carlotta Gallery - Flora (2026), and Women’s Photo Festival - Postcards: Images and Whispers (2026).
Stephen Newton
Price: Not for sale.
"Interstellar." 2025
"Stevie Newton construction worker with a keen interest in photography. Abstract is my main passion but I am open to all aspects."
"Interstellar." 2025
"Stevie Newton construction worker with a keen interest in photography. Abstract is my main passion but I am open to all aspects."
Frankie Breakfast
Price: £175
"Into the Earth." 2025
"Into the Earth." 2025
Frankie Breakfast
Price: £175
"The Gravity of Roots." 2025
When Colours Fade.
"Colour is how I orient myself in the world. My early photographs were built on light, nature, and chromatic abundance. Removing it was not an aesthetic choice - it was a necessity that arrived with grief. This series began after the loss of my ten-year-old daughter. In the silence that followed, I stopped photographing for months. When the need to make images returned, I understood that sadness required a language I had never used. Black and white became that language: not a style, but a stripping away. When Colours Fade is an ongoing project that seeks to make visible what a culture of performative happiness asks us to conceal - loss, loneliness, the slow work of continuing. I collaborate with individuals who carry their own weight of grief or depression, working without direction, remaining invisible behind the lens. Each session unfolds as a quiet ritual: the body moves, gestures emerge, nothing is staged."
"The two images presented here are the opening and closing of the first chapter. Between them, a presence bends toward the earth and slowly rises - releasing something or perhaps acknowledging it. The sequence does not resolve. It simply moves, the way time does, even when we wish it would stop. This realisation formed in front of my daughter's grave: grief does not suspend time. Choosing to continue living does not erase loss. It names it."
"The Gravity of Roots." 2025
When Colours Fade.
"Colour is how I orient myself in the world. My early photographs were built on light, nature, and chromatic abundance. Removing it was not an aesthetic choice - it was a necessity that arrived with grief. This series began after the loss of my ten-year-old daughter. In the silence that followed, I stopped photographing for months. When the need to make images returned, I understood that sadness required a language I had never used. Black and white became that language: not a style, but a stripping away. When Colours Fade is an ongoing project that seeks to make visible what a culture of performative happiness asks us to conceal - loss, loneliness, the slow work of continuing. I collaborate with individuals who carry their own weight of grief or depression, working without direction, remaining invisible behind the lens. Each session unfolds as a quiet ritual: the body moves, gestures emerge, nothing is staged."
"The two images presented here are the opening and closing of the first chapter. Between them, a presence bends toward the earth and slowly rises - releasing something or perhaps acknowledging it. The sequence does not resolve. It simply moves, the way time does, even when we wish it would stop. This realisation formed in front of my daughter's grave: grief does not suspend time. Choosing to continue living does not erase loss. It names it."
Samuel Rhodes
Price: Upon request.
"Untitled (Lantana)." 2025
"Born 1981, Richmond, VA. I am a graphic designer and photographer based in Tokyo. In photography I work primarily with film in 135 and 120 formats, across a range of subject matter (sometimes hardly any at all). In 2026 I was a fellow at Fotofilmic’s "Tokyo Story" workshop led by Wing Shya. When I take a photo it’s to say "look at this!" and what I mean is vitality and suchness having momentarily assumed the form of whatever light hitting whatever thing drew my eye. I am generally more interested in feel than precision in terms of documentation. To really see is harder than we think, ever-elusive. I would like to help others on their way by giving permission to look closer, and to revel in visual moments."
"Untitled (Lantana)." 2025
"Born 1981, Richmond, VA. I am a graphic designer and photographer based in Tokyo. In photography I work primarily with film in 135 and 120 formats, across a range of subject matter (sometimes hardly any at all). In 2026 I was a fellow at Fotofilmic’s "Tokyo Story" workshop led by Wing Shya. When I take a photo it’s to say "look at this!" and what I mean is vitality and suchness having momentarily assumed the form of whatever light hitting whatever thing drew my eye. I am generally more interested in feel than precision in terms of documentation. To really see is harder than we think, ever-elusive. I would like to help others on their way by giving permission to look closer, and to revel in visual moments."
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