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UNSEEN 2023 – Galleries at UNSEEN fair – Part 5 (images 50 –62 )


Kana Kawanishi Tokyo Yoshiki Omote (1992 Japan) (images 50 )

Yoshiki Omote is an artist renowned for his works that convert large-scale schemes and phenomena into sizes of daily life. In the “Turbulence” series, he represents atmospheric movements on a two-dimensional surface. A massive amount of resin is poured onto the surface of a mirror, with several ink drops added. He then leaves the work as is for a few days, allowing the liquid to move organically and blend into each other while it hardens, generating an unexpected composition over time. The artwork consists of a mirror, ink, and reflection, and is a pure conversation of the phenomenon of light, which photography stands for.

Kana Kawanishi Tokyo
2-7-5-5F, Nishi Azabu, Minato-ku,
Tokyo 106-0031 Japan


Lab 1930. Fotografia contemporanea, Milano Alessandra Calò (1977 Italy)(images 51)

Alessandra Calò artist & photographer, has been experimenting since the beginning of her career with the use of new languages that allow her to delve into themes linked to memory, identity and the language of photography itself. Her research is characterised by the reappropriation and reinterpretation of archive materials through ancient off-camera printing techniques.

Her works have been exhibited in prestigious international exhibitions and festivals, including: Giornata del contemporaneo at the Italian Cultural Institute in Madrid; Circulation(s) Festival de la jeune photographie européenne (Paris); Rencontres internationales de la photographie en Gaspésie (Canada), Ras Al Khaimah Fine Arts Festival (United Arab Emirates).

In 2015, his Secret Garden project won the COMBAT PRIZE – International Contemporary Art Award – as the best installation project capable of fusing the history of photography with contemporary literature.

Books and publications play a founding role in his artistic practice. In 2019, Secret Garden (Danilo Montanari Editore) won a special mention at the Bastianelli Award as the best Italian book published in 2018. Some of his works have been published in specialised magazines and acquired in private collections, foundations and museums, such as: Collezione Maramotti and Collezione Donata Pizzi in Italy; Artphilein Foundation in Switzerland; MoMA and The Met Museum New York. Caroline Gavazzi (1971 Italy)

Caroline Gavazzi is a French/Italian photographer based in Milan. She spent the early years of her studies between Paris, where she graduated in Urbanism at the Sorbonne, and London, where she obtained a Master’s degree in Professional Photography at the LCC (London College of Communication).

Her exploration of image gradually led her away from the commercial practice to a deeper personal path seeking new forms of expression using photography as her main media.

Caroline worked as Picture Coordinator in the Art Department at Vogue UK and as Picture Editor for the Harvey Nichols magazine. At the same time she started her freelance journey as a photographer for interiors, portraits, and still life for magazines such as Vogue UK, House & Garden, Tatler, Condé Nast Traveller &  Elle, to mention a few.  Caroline’s work has been exhibited in an impressive list of solo & collective exhibitions, fairs and festivals

Lab 1930. Fotografia contemporanea Milano – Caroline Gavazzi (1971 Italy) (images 52 )

Caroline Gavazzi is a French/Italian photographer based in Milan. She spent the early years of her studies between Paris, where she graduated in Urbanism at the Sorbonne, and London, where she obtained a Master’s degree in Professional Photography at the LCC (London College of Communication).

Her exploration of image gradually led her away from the commercial practice to a deeper personal path seeking new forms of expression using photography as her main media.

Caroline worked as Picture Coordinator in the Art Department at Vogue UK and as Picture Editor for the Harvey Nichols magazine. At the same time she started her freelance journey as a photographer for interiors, portraits, and still life for magazines such as Vogue UK, House & Garden, Tatler, Condé Nast Traveller &  Elle, to mention a few.

Caroline’s work has been exhibited in solo & collective exhibitions, fairs and festivals all over the world!

Lab 1930. Fotografia contemporanea
Via Mantova 21,
20135 Milano


nüü gallery – Deni Horvatić (1991 Croatia) (images 53 )

Deni Horvatić was born in Čakovec, Croatia. His artistic practice includes photography as well as video art and CGI. He worked for several years at Studio Silvio Vujičić and at the fashion brand E.A.1/1 S.V. as a researcher and head of communication and visual design.

Since 2019, he has been working with the Croatian fashion brand XD Xenia Design. He won the Marina Viculin Award for exceptional achievements in Croatian photography, established by the international photography organisation Organ Vida. In September 2020, the exhibition SCAN was shown at the Miroslav Kraljevic Gallery in Zagreb, Croatia. In May/June 2022, he was participating in the 36th Youth Salon, the largest and most respectable exhibition event for visual artists under the age of 35 in Croatia. His exhibition SCAN was then on view at nüü gallery in June and July 2022. Deni also participated in the group exhibition NUIT 2.0 at nüü gallery (July – September 2022) and is represented by nüü gallery.Deni Horvatić lives in Čakovec, Croatia, where he works as a visual artist.

nüü gallery
Kronenstr. 18
D-10117 Berlin-Mitte


O-68 Velp – Louise te Poele (1984 The Netherlands) (images 54 )

At UNSEEN 2023 Art Gallery O-68 presents artists who transcend the limitations of the photographic medium. Louise te Poele wonders: ‘how flexible is the world?’ As flexible as the mind? Nature and natural phenomena, such as gravity and reflections, are important elements/themes for her. Her more abstract works are about gravity and her desire for weightlessness. They are also the starting points for her spatial figurative work. She builds worlds with man-made objects. The objects in each work belong together. How do we deal with our containment of man-made objects?

O-68 Velp – Maaike Kramer (1986 The Netherlands) (images 55 )

Maaike Kramer uses architectural forms and materials as a metaphor for mental spaces and constructs. During making, there are several phase transitions between thinking and making. By combining monumental visual language with a sketchy visual language, she creates constructions that, in addition to monumentality, also contain doubt and reflection. Photography is a way of capturing a fleeting moment or determining perspective. Kramer uses photography as a moment of reflection in the process, freeze time with it, but then also shows it in the final work in the form of transparently cast photos.

O-68 Velp – Wanda Tuerlinckx (1969 Belgium/ The Netherlands)(images 56 )

Wanda Tuerlinckx photographs android robots. By using as photographic medium a process in which unique prints are made on photosynthetic material from nature, chlorophyll prints, the robots enter into a relationship with nature. This creates a contrast between the digital and organic worlds, while at the same time enhancing the magic of nature. A unique ‘greening’ that unites the futuristic and the biological, code and nature. We show here Ai-Da. At least 4 other chlorophyll works are in the process of being made (Hi-4, Jules, Natsume Soseki and Ottonaroid) and will be ready in September.

O-68 Velp – Daphne van de Velde (1973 The Netherlands) (images 57 )

Daphne van de Velde initially took an engineering degree in architecture, which she supplemented shortly after with a degree in Architectural/Monumental Arts. Finally she graduated as a photographer.

The photographic work of Daphne is a questioning of the medium, an exploration of its possibilities. Her work reflects all the influences of her diverse training – it probes the boundary between photography and sculpture, it is sometimes monumental but not always, it forms a unity with the architectural space ánd it is experimental.

It doesn’t just stick to form. For her, the creative process is the exploration of the external, where she strives to reconcile the representation of the surface with the inner world of feelings.

She wants to make skin tangible. She experiences that we use our skin as a border, a defensive wall to prevent other people from entering. Photographic paper becomes the substitute for skin, which she manipulates, moulds into a photo sculpture. But don’t expect a representation of the body, the broken fragments refer to a physical contact, be it loving or aggressive you just can’t decide. They are experiences of intimacy and vulnerability, of lust and desire, of love and of pain.

We live more and more in our own space is one of her principles – but I wonder when looking at the work and reading her statement whether the work could have been realised in a period other than corona, in a time other than that of compulsory isolation. It expresses so strongly the loneliness, the hunger for skin, the longing for real human contact – that it almost sums up this period. Ultimately, she asks us to drop the barriers, because only when we allow ourselves to be vulnerable and risk grief that we will experience love.

The strength of Daphne van de Velde’s work lies both in its design and its starting point – it breaks the boundaries of the medium, and the result is surprising, captivating and challenging…

Oranjestraat 74
6881SG Velp,


Photo Gallery JAPANESQUE Paris/Tokyo/Kyoto – Yasuo Kiyonaga (1948 Japan) (images 58)

Yasuo Kiyonaga est un artiste japonais qui est inspiré par surréalisme. Il tente toujours à déborder la limite de photographie en mélangeant plusieurs techniques.

Dans Unseen édition 2023, la série “hana” seront exposés. Cette série de nature morte est une superposition de la peinture photographiée et la photographie de la fleur en vase. Le dynamisme de sa trace de pinceau et les fleurs sont soyeusement assemblés sur un tableau.

Photo Gallery Japanesque Paris/Tokyo/Kyoto
14 Rue Saint-Sulpice,
75006 Paris


Project 2.0/Gallery The Hague – Sebastiaan Knot (1970 The Netherlands) (images 59 )

Sebastiaan Knot is a visual artist living and working in Rotterdam – the Netherlands who uses light as his material to create contrasts of color and form with which the given space is beautified. After a diverse career as a photographer, graphic and web designer he went on to establish his own photography studio which he still runs successfully for 20 plus years. In recent years his work has shifted from commercial clients and commissioned assignments to fine art. Showing most recently at Project 2.0 in the Hague, he sells work both internationally and in the Netherlands. His work are in the collection of the Maasstad Hospital and in private collections. Notable exhibition has been with the Fondation Vasarely in July 2022 where his work was shown in a groupshow with Victor Vasarely and Paco Rabbane amongst others.

“My work is a dialogue between light and space. I act as the moderator and determine where the light enters that space. After that they collide and argue but always come to a conclusion and understanding. They both need each other to be seen. As the painter Seurat said: “We do not see reality, but we see what light gives back to us of reality”. “

“What defines a ‘Bauhaus photograph’? In The Spirit of the Bauhaus (Thames & Hudson, 2018), curator Louise Curtis writes that, in the early-to-mid-1920s, cameras were used “to uncover previously unimagined scales and forms of reality.” One of the most famous pioneers of this approach was László Moholy-Nagy (1895-1946), interested in abstraction, space and the possibilities of the lens. “He insisted above all upon its capacity to extend human vision beyond standard habits of perception,” says Curtis.

These same ideas underpin the work of Rotterdam-based Sebastiaan Knot (1970), whose illusory geometries are created without any digital manipulation. Crisply folded sheets of card pop out from orange, purple and pink walls – casting sharp lines of light and shadow. Elsewhere, a red rectangle stands tall against a deep blue backdrop. The results are deeply satisfying, drawing the eye into abstract worlds.” (Aesthetica Magazine)

Project 2.0 / Gallery
Noordeinde 57
2514 GC Den Haag
The Netherlands


Ravestijn Amsterdam –   Mathieu Asselin (1973 France) (images 60)

In 2014, hidden software was discovered in certain models of Volkswagen cars. This software manipulated air pollution tests conducted on vehicles from specific automakers. It was designed to identify when the standardized emissions test was being carried out and then modify the engine to emit lower levels of pollutants during the test. However, when these vehicles were driven under real-world conditions, they emitted significantly higher amounts of pollutants. This revelation caused the largest industrial scandal since World War II and severely shook the automobile industry. This scandal came to be known as Dieselgate.

True Colors, Mathieu Asselin’s latest body of work, is influenced by the Dieselgate scandal and reflects on the automobile industry’s destructive relationship with the environment. The project examines how the industry falsely portrays itself as eco-friendly to navigate the urgent socioeconomic and environmental challenges confronting humanity today. It highlights how the traditional concept of individualistic mobility is being questioned like never before in the history of the industry.

Through the utilization of visual marketing tools employed by the industry, such as photography, colors, archival materials, and others, True Colors aims to challenge the industry’s environmental narrative. It confronts the industry’s contradictions, corporate and environmental scandals, lack of action, and its unsustainable vision for the future of human mobility.

The project consists of two main components: a book containing photographs and text that delve into the project’s research, and a series of diptychs: landscapes printed using silk-screen technique. These landscapes are printed on high gloss colored steel plates, measuring around 100 x 150 x 2 cm, using black carbon-negative ink. The ink is produced from fine dust extracted from the exhaust pipes of Diesel vehicles. The overall presentation of the work is serene and comprises a colorful collection of picturesque natural scenes. Landscapes that were appropriated from the sales brochures of the cars involved in the Dieselgate scandal. The colors used in the prints incidentally bear the names of precious ecosystems. For example, a lake surrounded by pine trees is depicted in Volkswagen’s ‘Montana Green,’ a pristine mountaintop is covered in Renault’s ‘Glacier Blue,’ and a desert is bathed in BMW’s ‘Arizona Sun.’ Each diptych comes in an edition of 1 plus 1 AP.

In collaboration with a biologist, Asselin selected 257 of these colors and created a graphic representation illustrating the rising temperatures from 1880 to 2022. Colors such as ‘Alaska Blue’ represent the Victorian Age, while ‘Amazonia Green’ represents the mid-20th century. The more alarming ‘Coral Red’ signifies the present day.

Ravestijn Amsterdam –   Chloe Sells (1976 France) (images 61 )

Chloe Sells presents a selection of work from her time as one of the last personal assistants to the celebrated cult journalist, Hunter S. Thompson, author of Fear and Loathing in Las Vegas: a savage journey to the Heart of the American Dream (1971) and other writings on American politics and life.

Sells draws upon this experience to not only depict the intimate home and lifestyle of the author but to also revel in the powerful landscapes of their shared home, Aspen, Colorado. In an expressive series of images, the artist combines documentary works and hand-printed photographs that are overlaid with traditional marbling techniques from Italy and Japan. The result is a series of unique tableaux, as much paintings as photographs: a psychedelic ride through the Rocky Mountains and into the living room of one of the most unconventional minds of the 20th century. Each work is a unique piece.

Chloe Sells is a Colorado native who currently lives and works between London and Maun, Botswana. Sells earned her Bachelor’s in Fine Art from the Rhode Island School of Design in 2000 and her Master’s in Fine Art from Central Martin’s in 2011. Her work has been featured at the Michael Hoppen Gallery in London and Galerie Miranda, in Paris.

At the stand we have a limited amount of copies available of Chloe’s book Hot Damn, in which she categorizes each image with words or phrases Thompson said or wrote. A truly inspiring publication!

Ravestijn Gallery
Gallery moving: New address soon to be announced
1013 BV Amsterdam


Roof-A Rotterdam – Daan Zuijderwijk (1974 The Netherlands) (images 62 )

Over the past five years Daan Zuijderwijk has extricated himself from most human systems. With a tiny house on wheels he and his family venture through the mountains and woods that can be seen in his images. In the most remote and rugged landscapes of Europe, from Scotland and Norway to France or Spain, Daan scrambles his way into the darkness with his camera, tripod and equipment and heads for the promising spot that he had his eye on. The woods, the mountain, the cliff, the valley produce extraordinary and strange images; they have been transformed by his interventions in the darkness, allowing colored lamps and laser pens to stroke across trees and boulders. That is how his images take shape, by means of an inspired and thought-out performance in the night.

Westplein 9-B
3016 BM Rotterdam


John Devos
Correspondent L’Œil de la Photographie/Eye of Photographie


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