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BBC News
20-04-2025
- Entertainment
- BBC News
2025 Sony World Photography Awards: Winners revealed
The winners of the 2024 Sony World Photography Awards have been announced, with Zed Nelson named as Photographer of the Year for The Anthropocene Illusion, a project exploring the fractured relationship between humans and the natural project takes its name from the term Anthropocene - the current geological epoch where human activity has become the dominant force shaping the Earth's project explores the tension between the human desire to connect with nature and ongoing environmental degradation. Nelson's constructed environments highlight the growing gap between conservation efforts and ecological destruction. The Anthropocene Illusion goes beyond a documentary, offering a thought-provoking exploration of modern human life in an era shaped by human impact. Nelson's work, selected from the 10 professional competition category winners, triumphed in the wildlife and nature are the other category winners. Architecture & Design The Tokyo Toilet Project by Ulana Switucha (Canada) The Tokyo Toilet Project in Shibuya-ku, Tokyo, Japan, is an urban redevelopment initiative aimed at creating modern public restrooms that encourage use. These images are part of a larger series documenting the architectural design of these structures within their urban setting. Creative Rhi-Entry by Rhiannon Adam (United Kingdom) In 2018, Japanese billionaire and art collector Yusaku Maezawa launched a global search for eight artists to join him on a week-long lunar mission aboard SpaceX's Starship, the first civilian deep space flight. The mission would follow a path similar to Apollo 8's 1968 journey, which inspired astronaut Bill Anders to suggest NASA should have sent poets to capture the awe of 2021, Rhiannon Adam was chosen as the only female crew member from one million applicants and for three years she immersed herself in the space industry. Maezawa abruptly cancelled the mission, leaving the crew to pick up the pieces of their disrupted lives - the experience informed Adam's thought provoking project. Documentary projects Divided Youth of Belfast by Toby Binder (Germany) For years, Toby Binder has been documenting the experiences of young people born after the peace agreement in Northern Ireland, capturing what it means to grow up amid the intergenerational tensions in both Protestant and Catholic neighbourhoods. Environment Alquimia Textil by Nicolás Garrido Huguet (Peru) Alquimia Textil is a collaborative project by Nicolás Garrido Huguet and fashion designer María Lucía Muñoz, highlighting the natural dyeing techniques of Pumaqwasin artisans in Chinchero, Cusco, Peru. The project seeks to raise awareness and preserve these ancestral practices, which involve hours of meticulous work often overlooked in the textile industry. Landscape The Strata of Time by Seido Kino (Japan) This project invites viewers to consider what it means for a country to grow, and the advantages and disadvantages linked to that growth, by overlaying archival photographs from the 1940s-60s within current scenes. Perspectives The Journey Home from School by Laura Pannack (United Kingdom) Laura Pannack's project explores the tumultuous public lives of young people in the gang-governed Cape Flats area of Cape Town, South Africa, where their daily commute carries the risk of death. Using handmade, lo-fi experimental techniques, this project explores how young people have to walk to and from school avoiding the daily threat of gang crossfire. Portraiture M'kumba by Gui Christ (Brazil) M'kumba is an ongoing project that illustrates the resilience of Afro-Brazilian communities in the face of local religious Christ wanted to photograph a proud, young generation representing African deities and mythological tales. Sport Shred the Patriarchy by Chantal Pinzi (Italy) India, the world's most populous country, only has a handful of female the art of falling and getting back up, these women challenge stereotypes, fight marginalisation and reclaim public spaces in both urban and rural areas. Still life Still Waiting by Peter Franck (Germany) Still Waiting presents collages that capture moments of pause, of waiting. Open - motion Tbourida La Chute by Olivier Unia The Open competition celebrates the power and dynamism of a single photograph. Olivier Unia was chosen for his photograph Tbourida La of the photographs taken during a traditional Moroccan 'tbourida' show the riders firing their rifles. With this image, the photographer wanted to share another side of the event, and show how dangerous it can be when a rider is thrown from their mount. Student photographer of the year The Last Day We Saw the Mountains and the Sea by Micaela Valdivia Medina (Peru) Medina's project explores female prison spaces across Chile, and the dynamics that shape the lives of incarcerated women and their families. Youth photographer of the year For the 2025 Youth competition, photographers aged 19 and under were invited to respond to an Open Call and enter their best images from the last year. The winner, chosen from a shortlist of 11 photographers, was Daniel Dian-Ji Wu, Taiwan, 16 years old, for his image of a skateboarder doing a trick, silhouetted against a sunset in Venice Beach, Los Angeles. Outstanding contribution to photography The prestigious Outstanding Contribution to Photography 2025 was awarded to acclaimed documentary photographer Susan Meiselas. For more than five decades, photographer Susan Meiselas has focused her lens on capturing compelling stories from diverse communities. From documenting the lives of women performing striptease at rural American fairs to chronicling the Sandinista revolution in Nicaragua, her work provides an intimate portrait of resilience and humanity. All photos courtesy of Sony World Photography Awards 2025. Exhibition at Somerset House, London, 17 April – 5 May 2025.
Yahoo
19-04-2025
- Entertainment
- Yahoo
The photographer who took on America's gun nuts: ‘I'd get death threats in the night'
'I was lucky,' says the photographer Zed Nelson, 'until I went to Afghanistan.' The 57-year-old, who has just won the Sony World Photographer of the Year award for The Anthropocene Illusion, his masterful 2024 series about our relationship to the natural world, is making us tea in his north London kitchen and talking about his early years as a documentary photographer. 'I was very drawn towards… I don't want to say 'extreme situations', but they were highly political – life or death. Often there was a kind of geopolitical storyline behind it, like the Cold War and how countries are used as proxies.' Nelson began his career as a freelance photographer in 1990, working for the Independent, the Observer, Arena and The Face (as well as, later, The Telegraph Magazine). His work often took him into situations fraught with danger, where 'there's no police, no regular army, just warring factions… When you're younger, you have more idealism, you have more naïveté. You also have more ego, and a sense that nothing bad can happen to you.' He shot stories in Cambodia, Nagorno-Karabakh, South Africa and other flash-points and war zones. He recalls how his front-page images of famine in Somalia in 1992 for the Independent brought television reporters to the region; how The Face featured his photograph of a boy soldier in Angola wearing a colourful football shirt and holding a wad of cash. On the other hand, Nelson contracted dengue fever in French Guiana, and malaria in Angola, where he broke two teeth when he passed out from the effects of the disease. Things came to a head in Kabul in 1994. 'It was after the Soviets had been forced out [in 1989], and it was just Mujahideen warlords fighting. I went to Afghanistan to do a story about this forgotten war that just wouldn't end. It was also about Médecins Sans Frontières, who were the last aid agency there. All the others had left. 'And then I was in a car that got ambushed. We turned a corner, and the car was machine-gunned to pieces by two groups. I had an interpreter who got shot through the neck. The bullet sort of lodged in his face, but he survived. And the journalist I was with put his hands up over his head and had his arms kind of shot out. The bones were fragmented. He had to have skin grafts and nerve grafts, have his arms rebuilt. I didn't get hit, but at that moment, when people are screaming, and there's blood everywhere, and bullets are literally puncturing the car, my feeling was, 'I want to go home now'. It's not like a Hollywood movie. It was just like, 'Please can it stop? Can I go?'' The injured journalist was the future founder of Wallpaper magazine, Tyler Brûlé, who would come up with the idea for the publication while recovering in a hospital bed. Nelson would change direction, too, taking on a project in the US, from where, he notes, many of the weapons came. 'I'd seen that the guns were [mostly] Russian Kalashnikovs or American M-16s – that was true in El Salvador, in Angola, Afghanistan. Again, it was the proxy thing. Both Russia and America wanted to control these countries. And I thought: I'm not going to photograph Africa in grainy black-and-white any more. I'll photograph America, and their massive gun industry and the results of having guns in that society – 30,000 people shot and killed every year.' (Things have only got worse: in 2023, the figure was nearly 47,000.) The series of photographs he shot became the 1999 book Gun Nation, which was featured in 24 magazines worldwide. Among its most startling images were a portrait of a couple honeymooning at a desert shooting range, and a father holding his baby with one hand and a semi-automatic pistol in the other. There were also photographs from the aftermath of the 1999 Columbine High School shooting in Colorado, where 12 children and a teacher were killed by two students in a pre-planned massacre. 'People were reeling,' Nelson recalls, 'and everyone was like, 'pray for healing'. 'We thought we were in the safest place in America' was always the mantra. But down the road was the gun shop, and you're like, 'You don't need to pray for healing. You just need to sort that out'.' The book brought hostility to Nelson's door. After appearing on US radio stations publicising his work, he began receiving death threats at home in London. 'It'd be the middle of the night, I'd pick up the phone, and it'd be like, 'You f---ing a--hole, I'm gonna hunt you down.' It was not funny. It probably was just some t--- being an idiot, but it was enough to make me ring the police.' Since then, Nelson has worked on a string of thought-provoking long-term projects, from his 2009 book and film Love Me, about the pervasiveness of Western beauty ideals, to his 2019 film The Street – four years in the making – about the effects of gentrification on a single street in east London. Finally, The Anthropocene Illusion will bring him the stardom he deserves, though he plays it down: 'When you work on these projects for a long time, you question if it's going to work. It's very time-consuming and expensive. So it's massively gratifying to get the award, because it makes it feel worthwhile.' In this series, which he began six years ago, he turns his gift for storytelling to the way our craving for connection with nature – even as we cause its vanishing – leads to us recreating it in illusory form in zoos, theme parks and museums, as well as garden cities, national parks and wildlife reserves. Each image contains a narrative that sets the mind whirring. In Singapore, for instance, luxuriant greenery transforms the façade of a hotel, yet as Nelson points out, 'irrigating the plants breeds mosquitoes. So they have to kill all the insects. And when you do that, you kill the birds as well. So in order to have a beautiful, natural-looking city, they have to make it entirely unnatural.' One photograph of a chimpanzee sitting on a man-made rock in Shanghai Wild Animal Park, China, encapsulates the way that the fake and the real intertwine. The walls are painted with exotic scenes of a lake surrounded by plant life, which, Nelson notes, are purely for the zoo's visitors; they don't conjure a natural environment for the animal. 'Then there's the hatch, the door,' he adds. 'Which begs the thought: where does it go? 'And of course, it's not onto the plains of Africa. It opens into a barred cage where the chimpanzee sleeps.' Nelson saw the possibility of this melancholy image when he first arrived at the park, but it took the chimpanzee 'a day and a half' to return to its pose. The waiting forced a new perspective on him. 'Zoos are designed for a kind of conveyor belt of humanity. But when you disrupt that, you see the cruelty, the boredom, the confusion of the animal, and the frustration of a creature in confinement. After two days, you also start sharing some of its feelings.' Other striking images stir the imagination. In Kenya, an Out of Africa champagne-picnic experience laid out in the Maasai Mara reserve conjures a romantic vision of colonial times for high-value tourists – 'and a Maasai warrior is also paid to be in the scene, to give it this added twist of 'authenticity'. Make of it what you will, but it's all just one big fantasy.' Nelson was born in Africa himself, in Uganda, in 1967. His first name is actually Zik, after the popular 1960s Nigerian president Nnamdi Azikiwe. He adopted 'Zed' after a picture editor mistook his suggestion that he credit him simply as 'Z Nelson'. His parents were journalists, who had left the UK in their early 20s for the east African state. 'My dad ended up editing a newspaper there, then that became a problem, because any kind of free press under Idi Amin was a problem.' (The Ugandan army general seized power in a 1971 coup and would preside over a murderous dictatorship for the next eight years.) At one point, Nelson's father was dragged away in the night. 'I've asked my mother about it. There were soldiers on the roof and coming through the front door, and my mum was screaming, 'Don't take my babies'. It was terrifying for her. God knows what my dad thought. He plays everything down.' Nelson's father was released. But the family decided to leave Uganda and return to the UK with four-year-old Zik and his elder sister. It wasn't the end of their wanderings. 'When I was eight, they decided to drive overland to India in a converted ambulance… We literally set off from our house, and it took a year to get there and back.' He would also spend a couple of years at an international school in Hong Kong, before being sent to 'the worst comprehensive in London. It wasn't like Ofsted 'must do better', it was people being stabbed and parents not being told. There were hardly any exams done by anyone. My horizon line was massively lowered by the experience, but luckily, I still had an early background of a much bigger picture of the world.' After 'a couple of lost years', Nelson went back to college to get the qualifications needed to pursue higher education, where he studied film-making and photography. He soon realised that he could push forward more quickly with the latter. He still shoots on film. 'Digital cameras are great… but everything's so easy and quick that you don't look at things properly, or sit with things long enough.' He will admit, though, that one shot he took with his iPhone in Oslo's Natural History Museum as a reference for The Anthropocene Illusion was so amazing that it forced him to extend his trip so that he could try to reproduce it on his medium-format camera. Nelson finds it 'very worrying' that AI could accelerate the vogue for retouched and modified images – not to mention wholly AI-generated photos. He thinks it may reach the point at which 'the sense of wonder and appreciation people have for photographs is eroded because no one really believes in anything. 'If you're a photographer who takes pictures for product shots or advertising or even fashion, you know AI is coming for you,' he says. His hope is that the 'real' becomes something we learn to hold on to tightly. 'There's something about photography,' he muses. 'It's the joy of seeing something and thinking, 'Wow, that existed, that happened'. And if you take those feelings away, you're left with this Orwellian society where we trust and believe in nothing.' The Sony World Photography Awards Exhibition 2025 is at Somerset House, London WC2 ( until May 5. The Anthropocene Illusion by Zed Nelson (Guest Editions, £40) will be published next month Broaden your horizons with award-winning British journalism. Try The Telegraph free for 1 month with unlimited access to our award-winning website, exclusive app, money-saving offers and more.
Telegraph
19-04-2025
- Entertainment
- Telegraph
The photographer who took on America's gun nuts: ‘I'd get death threats in the night'
'I was lucky,' says the photographer Zed Nelson, 'until I went to Afghanistan.' The 57-year-old, who has just won the Sony World Photographer of the Year award for The Anthropocene Illusion, his masterful 2024 series about our relationship to the natural world, is making us tea in his north London kitchen and talking about his early years as a documentary photographer. 'I was very drawn towards… I don't want to say 'extreme situations', but they were highly political – life or death. Often there was a kind of geopolitical storyline behind it, like the Cold War and how countries are used as proxies.' Nelson began his career as a freelance photographer in 1990, working for the Independent, the Observer, Arena and The Face (as well as, later, The Telegraph Magazine). His work often took him into situations fraught with danger, where 'there's no police, no regular army, just warring factions… When you're younger, you have more idealism, you have more naïveté. You also have more ego, and a sense that nothing bad can happen to you.' He shot stories in Cambodia, Nagorno-Karabakh, South Africa and other flash-points and war zones. He recalls how his front-page images of famine in Somalia in 1992 for the Independent brought television reporters to the region; how The Face featured his photograph of a boy soldier in Angola wearing a colourful football shirt and holding a wad of cash. On the other hand, Nelson contracted dengue fever in French Guiana, and malaria in Angola, where he broke two teeth when he passed out from the effects of the disease. Things came to a head in Kabul in 1994. 'It was after the Soviets had been forced out [in 1989], and it was just Mujahideen warlords fighting. I went to Afghanistan to do a story about this forgotten war that just wouldn't end. It was also about Médecins Sans Frontières, who were the last aid agency there. All the others had left. 'And then I was in a car that got ambushed. We turned a corner, and the car was machine-gunned to pieces by two groups. I had an interpreter who got shot through the neck. The bullet sort of lodged in his face, but he survived. And the journalist I was with put his hands up over his head and had his arms kind of shot out. The bones were fragmented. He had to have skin grafts and nerve grafts, have his arms rebuilt. I didn't get hit, but at that moment, when people are screaming, and there's blood everywhere, and bullets are literally puncturing the car, my feeling was, 'I want to go home now'. It's not like a Hollywood movie. It was just like, 'Please can it stop? Can I go?'' The injured journalist was the future founder of Wallpaper magazine, Tyler Brûlé, who would come up with the idea for the publication while recovering in a hospital bed. Nelson would change direction, too, taking on a project in the US, from where, he notes, many of the weapons came. 'I'd seen that the guns were [mostly] Russian Kalashnikovs or American M-16s – that was true in El Salvador, in Angola, Afghanistan. Again, it was the proxy thing. Both Russia and America wanted to control these countries. And I thought: I'm not going to photograph Africa in grainy black-and-white any more. I'll photograph America, and their massive gun industry and the results of having guns in that society – 30,000 people shot and killed every year.' (Things have only got worse: in 2023, the figure was nearly 47,000.) The series of photographs he shot became the 1999 book Gun Nation, which was featured in 24 magazines worldwide. Among its most startling images were a portrait of a couple honeymooning at a desert shooting range, and a father holding his baby with one hand and a semi-automatic pistol in the other. There were also photographs from the aftermath of the 1999 Columbine High School shooting in Colorado, where 12 children and a teacher were killed by two students in a pre-planned massacre. 'People were reeling,' Nelson recalls, 'and everyone was like, 'pray for healing'. 'We thought we were in the safest place in America' was always the mantra. But down the road was the gun shop, and you're like, 'You don't need to pray for healing. You just need to sort that out'.' The book brought hostility to Nelson's door. After appearing on US radio stations publicising his work, he began receiving death threats at home in London. 'It'd be the middle of the night, I'd pick up the phone, and it'd be like, 'You f---ing a--hole, I'm gonna hunt you down.' It was not funny. It probably was just some t--- being an idiot, but it was enough to make me ring the police.' Since then, Nelson has worked on a string of thought-provoking long-term projects, from his 2009 book and film Love Me, about the pervasiveness of Western beauty ideals, to his 2019 film The Street – four years in the making – about the effects of gentrification on a single street in east London. Finally, The Anthropocene Illusion will bring him the stardom he deserves, though he plays it down: 'When you work on these projects for a long time, you question if it's going to work. It's very time-consuming and expensive. So it's massively gratifying to get the award, because it makes it feel worthwhile.' In this series, which he began six years ago, he turns his gift for storytelling to the way our craving for connection with nature – even as we cause its vanishing – leads to us recreating it in illusory form in zoos, theme parks and museums, as well as garden cities, national parks and wildlife reserves. Each image contains a narrative that sets the mind whirring. In Singapore, for instance, luxuriant greenery transforms the façade of a hotel, yet as Nelson points out, 'irrigating the plants breeds mosquitoes. So they have to kill all the insects. And when you do that, you kill the birds as well. So in order to have a beautiful, natural-looking city, they have to make it entirely unnatural.' One photograph of a chimpanzee sitting on a man-made rock in Shanghai Wild Animal Park, China, encapsulates the way that the fake and the real intertwine. The walls are painted with exotic scenes of a lake surrounded by plant life, which, Nelson notes, are purely for the zoo's visitors; they don't conjure a natural environment for the animal. 'Then there's the hatch, the door,' he adds. 'Which begs the thought: where does it go? 'And of course, it's not onto the plains of Africa. It opens into a barred cage where the chimpanzee sleeps.' Nelson saw the possibility of this melancholy image when he first arrived at the park, but it took the chimpanzee 'a day and a half' to return to its pose. The waiting forced a new perspective on him. 'Zoos are designed for a kind of conveyor belt of humanity. But when you disrupt that, you see the cruelty, the boredom, the confusion of the animal, and the frustration of a creature in confinement. After two days, you also start sharing some of its feelings.' Other striking images stir the imagination. In Kenya, an Out of Africa champagne-picnic experience laid out in the Maasai Mara reserve conjures a romantic vision of colonial times for high-value tourists – 'and a Maasai warrior is also paid to be in the scene, to give it this added twist of 'authenticity'. Make of it what you will, but it's all just one big fantasy.' Nelson was born in Africa himself, in Uganda, in 1967. His first name is actually Zik, after the popular 1960s Nigerian president Nnamdi Azikiwe. He adopted 'Zed' after a picture editor mistook his suggestion that he credit him simply as 'Z Nelson'. His parents were journalists, who had left the UK in their early 20s for the east African state. 'My dad ended up editing a newspaper there, then that became a problem, because any kind of free press under Idi Amin was a problem.' (The Ugandan army general seized power in a 1971 coup and would preside over a murderous dictatorship for the next eight years.) At one point, Nelson's father was dragged away in the night. 'I've asked my mother about it. There were soldiers on the roof and coming through the front door, and my mum was screaming, 'Don't take my babies'. It was terrifying for her. God knows what my dad thought. He plays everything down.' Nelson's father was released. But the family decided to leave Uganda and return to the UK with four-year-old Zik and his elder sister. It wasn't the end of their wanderings. 'When I was eight, they decided to drive overland to India in a converted ambulance… We literally set off from our house, and it took a year to get there and back.' He would also spend a couple of years at an international school in Hong Kong, before being sent to 'the worst comprehensive in London. It wasn't like Ofsted 'must do better', it was people being stabbed and parents not being told. There were hardly any exams done by anyone. My horizon line was massively lowered by the experience, but luckily, I still had an early background of a much bigger picture of the world.' After 'a couple of lost years', Nelson went back to college to get the qualifications needed to pursue higher education, where he studied film-making and photography. He soon realised that he could push forward more quickly with the latter. He still shoots on film. 'Digital cameras are great… but everything's so easy and quick that you don't look at things properly, or sit with things long enough.' He will admit, though, that one shot he took with his iPhone in Oslo's Natural History Museum as a reference for The Anthropocene Illusion was so amazing that it forced him to extend his trip so that he could try to reproduce it on his medium-format camera. Nelson finds it 'very worrying' that AI could accelerate the vogue for retouched and modified images – not to mention wholly AI-generated photos. He thinks it may reach the point at which 'the sense of wonder and appreciation people have for photographs is eroded because no one really believes in anything. 'If you're a photographer who takes pictures for product shots or advertising or even fashion, you know AI is coming for you,' he says. His hope is that the 'real' becomes something we learn to hold on to tightly. 'There's something about photography,' he muses. 'It's the joy of seeing something and thinking, 'Wow, that existed, that happened'. And if you take those feelings away, you're left with this Orwellian society where we trust and believe in nothing.'
Yahoo
16-04-2025
- Entertainment
- Yahoo
From skater girls to climate illusions: Meet the winners of the 2025 Sony World Photography Awards
The Sony World Photography Awards have unveiled the winners of their prestigious competition, now in its 18th year - shining a spotlight on the world's most powerful, thought-provoking, and visually arresting images of the past year. At a ceremony in London, British photographer Zed Nelson was named Photographer of the Year for his haunting and deeply timely series The Anthropocene Illusion, which explores humanity's fractured relationship with nature. From safari parks to synthetic green spaces, Nelson's images reveal a world where the wild is staged and the natural is anything but. The evening also celebrated the winners across the Professional, Open, Student, and Youth competitions - alongside a special tribute to legendary documentary photographer Susan Meiselas, this year's recipient of the Outstanding Contribution to Photography award. From intimate portraits of teenagers growing up in Northern Ireland's divided communities to celebrations of Indian women who defy gender stereotypes through skateboarding, this year's winning images are now on display at a sprawling exhibition at London's Somerset House, running until 5 May 2025. Here's a small selection from this year's most striking winning images: A six-year journey exploring how humanity's devastating impact on the planet is masked by artificial, stage-managed experiences of nature. A photograph capturing the danger and excitement of the moment a rider is thrown from their mount during a tbourida, a traditional Moroccan equestrian performance. For his gorgeous image of a skateboarder doing a trick, silhouetted against a sunset in Venice Beach, Los Angeles. A project exploring the complexity of female prison spaces and the people who inhabit them, from the inmates to their families. It was carried out at the women's penitentiary centres of San Miguel, San Joaquín and Valparaíso, between the months of March and July 2024. Documenting what it means for young people, all of whom were born after the peace agreement was signed, to grow up under this intergenerational tension in both Protestant and Catholic neighbourhoods in Northern Ireland. Captures the stories of young Indian women who use skateboarding as a form of resistance - challenging gender stereotypes and reclaiming public spaces. Illustrating the resilience of Afro-Brazilian communities in the face of local religious intolerance. Its name derives from an ancient Kongo word for spiritual leaders, before it was distorted by local society to demean African religions. Exploring the tumultuous lives of young people in the gang-governed Cape Flats area of Cape Town, South Africa, where their daily commute carries the risk of death. Celebrating the ancestral dyeing techniques of artisans in Chinchero, Peru, highlighting their intricate, time-intensive craft and the natural materials they use. A project following artist Rhiannon Adam's extraordinary journey as the only woman selected for a civilian mission to the Moon - an ambitious art residency aboard SpaceX that was unexpectedly cancelled, leaving its chosen crew to grapple with broken dreams and unfinished futures. Exploring Japan's post-war economic growth by overlaying archival photos from the 1940s–60s onto present-day scenes, highlighting how past development has shaped modern challenges like pollution and population imbalance. Documents the striking, artful public toilets redesigned across Shibuya, Tokyo - capturing how functional architecture can transform everyday spaces into visually engaging, thoughtfully designed landmarks. A series of collages that explore moments of pause and uncertainty—capturing the quiet tension just before something changes. A docuseries about four Chadian girls whose journey to become Olympic gymnasts in Spain sparks the creation of Chad's first gymnastics federation. Exploring the visual vocabulary of the cowboy, to consider new ways of presenting this archetype of masculinity. Documenting the aftermath of Spain's worst flooding in Valencia, and focusing on the young volunteers - dubbed the 'Mud Angels' - who selflessly aided recovery efforts.
