floz in fotofever paris 2015

céline andrea

Céline Andrea est une jeune parisienne, modèle nu et lingerie

pendant une décennie avant de passer de l’autre côté de la caméra.

Rapidement, elle en vient à shooter du nu, son “sujet de prédilection”.

Céline marche beaucoup à l’instinct, préférant la pose spontanée et

naturelle, s’imprégnant de l’ambiance, des lignes, jouant avec la

lumière pour mieux sculpter les corps, sublimés par la sensualité et

l’érotisme du noir & blanc.

Entre poses sensuelles, érotiques voire provocatrice, le rendu est

intense et puissant, favorisant l’émotion.


Céline Andrea Photographie



pierre folk

Le travail de Pierre Folk (né en 1986 dans l'Est de la France) explore la société humaine, avec une emphase particulière sur les relations conflictuelles que nous entretenons avec notre territoire. Sans défendre une thèse manichéenne, cette recherche prend la forme de récits visuels mais ne possède pas de nature documentaire. Si une série d'images devient naturellement un document, l'intention de l'auteur se concentre d'avantage sur le ressenti et la façon dont ces lieux nous renseignent quant à nous-mêmes.

 De façon à convenir à cette approche artistique, toutes les images sont réalisées à l’aide d’une chambre photographique et de négatifs couleurs. Ce processus méticuleux et introspectif permet la distance au sujet nécessaire afin de peser chaque composition. Ce choix est également esthétique puisque le medium possède d’intéressantes capacités descriptives.


Expositions Collectives & Festivals


Fotofever, Carrousel du Louvre, Paris, France

Rencontres photographiques du 10e, Gare de l'Est, Paris, France

Bright Lights Big Cities, Twice #3, galerie Düo, Paris, France

Kaunas Photo Festival, galerie Meno Parkas, Kaunas, Lituanie

Foreboding, galerie SANS, Oslo, Norvège



Art Takes Miami, Scope International Contemporary Art Show, Miami Beach, Etats-Unis

Young photographers exhibition award, Fine Art gallery, Traismauer, Autriche


Prix & Sélections


Rencontres photographiques du 10e, lauréat SNCF

Prix Camera Clara, shortlisté



Archifoto, prix international de la photographie d'architecture, sélection

Prix international de la photographie de Moscou, mention spéciale


Publications, Presse & Blogs (sélection)



Pierre Folk Photographie

paul von borax

Petit, Paul von Borax accompagne sa soeur dans son laboratoire. C’est l’époque de l’argentique, des bains puent et de la lumière rouge. Il découvre les photos qui apparaissent comme par magie dans le bain de chemie.

Ému, l’imbécile commit l’irréparable: confondre sa grenadine et le révélateur!.


Cul sec, le breuvage!

Depuis, il ne cesse d’essayer de retrouver ce goût si étrange qui descendit lentement comme un caramel périmé au fond de sa gorge… les docteurs lui ayant déconseillé de reboire du révélateur, il n’a plus le choix à défaut du goût, il aura l’odeur: il DOIT faire des photos.

Il ne s’arrêtera que lorsque…euh…que

Lorsque…euh…bon, il ne s’arrêtera probablement jamais.

Aujourd’hui, meme si le numérique habite sa poche droite, sa vrai drogue, c’est toujours la chimie…

Une petite dose avec moi les ami(e)s?

As a child, Paul von Borax goes along with his sister into her laboratory.

At that time, it is all about films, stinky baths and red light.

There he witnesses photographs magically taking shape in chemical bath.

Totally overwhelmed, the idiot makes the drastic error of mixing up his cordial with film developer!

He gulps the drink down!

Since then, he hasn’t stopped trying to recreate that interesting taste - in an out-of-date-toffee kind of way - that fell down his throat ever so gently…

 Doctors have clearly advised against drinking developer again, so he is left with no other choices: if he cannot taste it again, then smelling it will have to suffice and for this, he MUST make photos!

He will only ever stop when… hum… well.... [cough]… well, in fact, he will probably never stop…

These days, even if a digital camera can often be found in his right pocket, chemistry remains his true addiction…

Let’s have a shot together, shall we?


Paul von Borax Photographie


uma kinoshita

“In Silence and in Sorrow”


I have been taking photographs of Fukushima since the triple disaster hit the prefecture on March 11, 2011. "In Silence and In Sorrow" is the third series of my Fukushima project. It consists of photographs I took in evacuation zones in 2013 and 2014. Some places are located on the coast and that within several kilometers from the exploded nuclear power plant. Others are small mountainous villages. Although they are more than 40 km away from the nuclear power plant, the radioactive particles were carried by wind and fell all over them.

After more than 2 years had passed, these zones had slowly but steadily fallen into ruin. In these photographs, we see things and places once beloved by people and now abandoned. I cannot stop myself from feeling the fragility of human existence and eschatological overtones as a result of human arrogance of trying to control the nature, blindly believing in their technologies.

I printed these photographs on Japanese traditional hand-screened paper called "Kamikawasaki-washi" from Nihonmatsu, Fukushima Prefecture. It has a history of over 1000 years. I decided to use this special paper, for I expected that a certain kind of reaction might happen between the photographs of Fukushima and the paper of Fukushima. The results were more than I had expected. Every time I print, I get different results with a kind of improvisational nature. With this help. it seems as if the photographs were to talk by themselves.

Biographic Note

Uma Kinoshita is an independent photographer based in Tokyo. As a self-taught photographer, she started to take photographs in 2004. Her initial interests were in a woman’s body and emotions. With her nude works, she won several awards and held exhibitions at home and abroad.


However, the disasters of March 11, 2011, have drastically changed her photography. She has turned her eyes, which had been so introspective, to big social issues. In the first year after the disasters, she pursued the absolute loneliness people could experience by taking pictures of places where no one could or should be, and thereby completed a portfolio entitled “Lost in Fukushima.” In the second year, she focused on the role of their local religion as a source of their community resilience and completed her second Fukushima series entitled "Prayer in Stricken Land." These two series have been exhibited at home and abroad and some are in collection of Fukushima Museum. "In Silence and In Sorrow" is her third series of Fukushima.



Uma Kinoshita Photographer


michele mattiello

Balkan Express

From Venice to Istanbul by train, through the Balkans.

My intention was not to see Istanbul, but the experience of travel to reach it, to lose myself on Balkans.

Reading a short story by Paolo Rumiz, it inspired me to travel to Istanbul by train.

One day, in late January, I decided to take a backpack, my camera and without any booking I started my journey from Venice to Istanbul.

A small kind of adventure.

I went to Trieste by train, and then to Ljubljana

The next day, I caught another train to Belgrade, and the night after I travelled again by train to Sofia.

Finally, the last night train, the Balkan Express, which led me to Istanbul.

Cold, and continuous snow storms, looking for an hotel, talking to strangers in smoky bars, meeting people and get in their homes, just to share a few moments of their lives.

This is the photographic story of what I saw through dirty windows of the trains, on the streets, inside homes.


Michele Mattiello, started shooting and began darkroom practice in the 90's;

In 2003 he worked with an onlus to make reportages on their activities, and this brought him closer to reportage and its language.

After this project, which lasted 5 years, decided to focus on exploring the intimate sphere of people and body languages.

Later experiences with other photographers (as Antoine d'Agata) lead him to deepen this research.

Not interested anymore just about representation, but he try to express the intimate relationship with his subjects, showing the emotional state of the moment.



Michele Mattiello Photographer



mario rossignoli

“Dancing in the Dark”


Invaded by light and transparent, some jellyfish, with such grace to make them seem dancers, floating on a black background powerfully exalting every detail. Many people observe them with disgust while I admire their charm and elegance and so I thought it would be beautiful to work out this aspect in a photographic key, where these beings don’t scare anymore…”

The black background has helped me to show every detail of the fragile creatures, which remind me of the fragility of us human beings. All the same, even though fragile, the jellyfish have always populated the sea and go on living there, just like us, going on living despite being infinitely small within the universe and exposed to thousands of perils and the arbitrariness of destiny… (extract from article in the newspaper IL SECOLO XIX, 22 February 2006).


Mario Rossignoli, native of Monterosso al Mare (La Spezia, Italy), was born in 1973.  He began his career as a photographer with sporadic shots, fruits of emotion and passion. In 1991, he was immediately recognized by the National Award of the Italian Naval Association for the theme “the relationship between man and sea”.

Some years later, in order to be able to add depth to all aspects linked to this art, still life, portrait and landscape-photography, he decided to pursue professional photography studies

In November 2001, he started a master course at the school of John Kaverdash at Milan. Then continued his studies with an internship focused on digital management of colours and ICC profilation with Mauro Boscarol in Bolzano.  After which, he began to attend the Contemporary Archive of Artistic Photo printing (ACSAF) in Florence with Cesare Bossi where he commenced to master new techniques of Fine Art Printing such as printing with carbon pigments “Piezography” and brush developing techniques.


Through the spring of 2005, on a local and international level, he has worked as a freelance photographer of musicians.  Then he began to attend more specialized classes and later went on to work with the Contemporary Archive of Artistic Photo printing (ACSAF). There, his works were exhibited from the 1st to the 15th of December 2005. Afterwards, these works were moved to La Spezia to be displayed at the Centre of Exhibition Rollandi from the 16th of January until the 30th of April 2006.


Every image has been printed in two different seizes using the technique of carbon pigment print “Piezography”

The big format 70x81 cm image on paper sheets of 91x101 cm has been printed in limited edition of 5 copies only, stamped, numbered and signed by the author.

The small format 50x58 cm on paper sheets of 60x68 cm has been printed in limited edition of 25 copies only, stamped, numbered and signed by the author.


Mario Rossignoli Photographer


giuseppe de leo

Suggestions du KathaKali


Si les femmes de Arles étaient “Sensualité hors du Temps” celles de “Suggestions du KathaKali” sont d’un érotisme fortement sensuel, chargé, sale mais raffiné, imprégné d’un parfum exotique enivrant et du tintement subtil et décis des chevilliers argentés des KathaKali.

Ornées de plumes et de bijoux, qui encadrent des visages avec des regards percants qui fixent au loin comme s’ils se souvenaient d’un passé qui n’existe plus, ou comme s’ils s’étaient perdus dans des lieux inconnus par l’homme. Allusifs et lascifs, ils inquiètent ceux qui les regarde.

Des “Déesses” tombées ...devenues terriblement charnelles et terrestres, accompagnent, sur la pointe des pieds, le spectateur dans un monde secret oú l’éternel mystère de la féminilité se cachederrièreunbijoulourdouderrière deux lèvres entrouvertes qui chantent muettes une lente et ossessive mélodie orientale.

Reléguées dans le Palais elles errent, ennuyées et insouciantes de leur nudité montrée impertinemment, conscientesdeleurbeautéensorcelante qui dégage l’odeur de copulations, dans les chambres élégantes aux murs recouverts d’étoffes précieuses et attendent...

En les regardant on se rend compte qu’elles ne sont pas que des Femmes, mais des archétypes de la Femme et comme tous les archétypes, élusifs et insaisissables dans leur image déterminée, quasiment violente, d’une essence absolue.


Giuseppe De Leo Photographer