Elisabeth Guerrier


" I am an emerging artist who work for 20 years.
In painting and digital art.
Paradoxal?

I just dare touching my genuine personal message now : my own maturity seems to bring me the equilibrium I needed to make choices.
An interest, a fascination for the signs that surround us and that are meant to be forgotten : building sites, rubbish, scrap yards, vision of the body that are designed to vanish with time and oblivion.
The work is both an aesthetic pun, some provocative way to deal with our world of "things" and some recognition of the anonymous part of our surroundings.
I work a lot and with delight on my own body and its ramifications in the same spirit.
As in some obvious but mysterious specificity of women art, it appears that the body keeps a constant ambiguous relation with the "I " who looks at it.
The painting is also about oblivion.
And the natural betrayal of who we were.
The words, the feelings  disappearing in a vital tide.
The lack of sight, the transparency of people we cross through the existence of each day and who fall without mercy into the desert of our memories.
As we ourselves and who we were yesterday fall into oblivion as soon as time makes its sanding down over our memory.
I need to keep these for ever lost feelings here on the canevas." - Elisabeth Guerrier 




 Exhibitions : 

July 2010 NEW-YORK Agora Gallery "The French perspective. ( digital art )
September HEROUVILLE FRANCE " Building site" ( Digital art)
April 2011 NAPLES ITALY Monteoliveto Gallery " Plasturgies" ( digital art)
April 2011 FLORENCE ITALY Vivid art ( Paintings, Waiting room)
September 2011  LONDON World tour Nina Torres ( Paintings Watching over us)
October 2011 PARIS Place aux artistes Place Maubert ( Paintings Waiting room and else
January 2012 NEW-YORK "Art Approach " Chelsea Art book/ exhibition ( Paintings Watching over us)






Wynn Bullock




Wynn Bullock,  (born April 18, 1902, Chicago, Illinois, U.S.—died November 16, 1975, Monterey, California) was an accomplished concert tenor as a young man. It was while studying music in Paris in the late 1920 s, that he became interested in the visual arts, inspired by the works of MAN RAY and Laszlo Moholy-Nagy. However, it was not until 1938 that he seriously began to study photography. In 1940 he studied with Alfred Koryzbski, whose ideas and use of symbolism greatly influenced him. From 1946-1967, Bullock worked as a commercial photographer American photographer who conveyed a psychological truth beneath the realism of his images.
Bullock moved to New York City in the early 1920s to study voice at Columbia University and to pursue a career as a concert tenor. While traveling throughout Europe, he was exposed to developments in the visual arts. Upon his return to the United States in 1931, he briefly studied law; however, he decided that his vocation lay in photography and instead enrolled at the Los Angeles Art Center from 1938 to 1940. Bullock’s early work—mainly solarizations, in which the image is partly negative and partly positive—was strongly influenced by the avant-garde experiments of László Moholy-Nagy. His first one-man exhibition, held in 1941 at the Los Angeles County Museum, was a critical success.
In 1948 Bullock met photographer Edward Weston, who persuaded him that realism and tonal beauty were photography’s most valuable assets. Bullock changed his own style and strictly followed Weston’s teachings. Much of his work from that point on closely resembles Weston’s, especially in his choice of seascapes, landscapes, and nudes as subject matter. Bullock was very focused on the meaning behind such subject matter. He often intended his realistic images to be viewed as “equivalents,” photographic images that serve as visual metaphors for larger ideas, such as the passing of time and the inevitability of death. Occasionally, he treated these themes surrealistically in prints such as Child in the Forest (1954), one of two of Bullock’s photographs that were central parts of “The Family of Man,” the landmark 1955 exhibition organized by Edward Steichen at the Museum of Modern Art in New York City.

In 1957, Bullock was honored with a medal from the Salon of International Photography and was recognized by the Professional Photographers Association of California. Bullock eventually retired from commercial work to devote himself to the philosophical meaning of images as well as the teaching of photography. He continued teaching and photographing until his death in 1975. 
Bullock's work is included in the Family of Man exhibition, and in the following collections: the Museum of Modern Art, George Eastman House, the Whitney Museum, the Victoria and Albert Museum in London, ICP in New York, the Royal Photographic Society of London and in the Metropolitan Museum of Art.


Mikolaj Zajac



Polish Photographer

State Secondary School of Music in Krakow in the class bass. Studies in the Faculty of Architecture Cracow University of Technology.




Ingar Krauss


Krauss started his photography in the mid-1990s, focusing first on neglected buildings (never published), and then on his daughter and her friends as they grew up in Berlin and in the countryside near the border of Poland. Encouraged by the successful responses to this first work, he traveled to places in the former Soviet Union, and made portraits of children the same ages, but living in state-run orphanages, juvenile prisons and camps. Many of these kids are not criminals but these “childhood institutions” are the only places society can find for them. The intensity of these images is haunting and complex.
With his black-and-white portraits of children and teenagers in Germany and Russia, Ingar Krauss reveals quietly intense moments of transformation and the emotional turmoil just below the surface of life’s thresholds. His young subjects seem to have knowledge and wisdom beyond their years. Despite the mask-like appearance each tries to project, their eyes, faces and postures reveal confusion, frustration, melancholy. They are serious, remote, sad, defiant. They have already seen too much, and the innocence lost is painfully etched into each of these images.
Choosing to photograph children, often times orphans, who have been convicted of crimes and are confined to the juvenile prison system in Russia, Ingar Krauss focuses on children who already have a biography, a story to tell and seem to be responsible in a way that is not childlike. These children stand alone, and in their expression there is often a psychological intensity, a deep longing and reserve that the lens registers. 
When taking a portrait, Ingar Krauss tries to find a secret agreement and connection with the girl or boy, in the absence of every language. His photographs are about the psychic space that these young people inhabit and the mystery of their existence. With sensitivity and intuition, he portrays them absorbed in themselves, poignantly defiant, sad or assertive. The spareness of the environment surrounding these children and the fact that they all wear self-sewn uniforms is important for the intensity and truth of the portraits. It reduces these young people to their essence; their individuality is told by their expressions, gestures and inner life. 
Ingar Krauss obtains the extraordinary quality of this series - moody, somber, cold and dominated by gray tones - by printing on old Eastern European photo paper and gold toning the prints. Departing from the luscious b&w of his previous work, the quality of these prints matches the somber intensity of his subjects. 
A self-taught photographer, Ingar Krauss started to exhibit his photographs in 2001, gaining immediate recognition. This year, he has had solo exhibitions in Italy, Austria and Germany. His work was included in important group shows: Adoleszenz, Fotogalerie Wien, Vienna, Austria; Making Faces: The Death Of The Portrait, MusÈe De L'ElysÈe Lausanne, Switzerland and The Hayward Gallery, London, England. He also participated in the Rome Photography Festival 2004, Rome, Italy and was awarded the Leica Prize during the Fourth Grand Prix International de Photographie, Vevey, Switzerland.
Krauss prints his black-and-white portraits on old photographic paper produced in Eastern Europe, which gives his pictures even more of a melancholy tone. In 2004 the artist received the Leica Prize of the Grand Prix International de Photographie in Vevey.




Denise Grünstein


Denise Grünstein is one of the best known and most highly respected profiles in Swedish photography. Her images are easily recognized for their characteristic, intensely present, highly personal and quite romantic artistic expression. Considered one of Sweden´s foremost portrayers of people, be they models, actors, dancers, directors or authors, she has a unique ability to imprint her own feelings and temperament on film.Besides people, nature has been another main source of inspiration for Denise throughout her career, with much of her most powerful work distiguished by often subtle natural romantic elements. Denise Grunstein works in her very own lifestyle tradition, always with strong fashion sense, regardless of project and commission. She has staged a large number of high profile solo exhibitions and contributed to numerous celebrated books. For her personal art work, Denise is represented by  Galleri Charlotte Lund.