SPECTACULUM MAGAZINE
AMY NEWTON McCONNEL // For Phoenix-based photographer Amy Newton-McConnel, the camera is not simply a means of recording the visible world, but a tool for questioning how we perceive it. Working primarily in abstract photography, she explores the possibilities of movement, reflection and multiple exposure to transform familiar subjects into unexpected visual compositions. Architecture, people, […]
CHERYL NANCARROW // For Australian photographer Cheryl Nancarrow, photography has long been a means of exploring the possibilities of artistic expression rather than simply recording the world as it appears. Based in Brisbane, she has been involved with photography for some sixty years, gradually developing a distinctive approach that embraces experimentation, abstraction and digital manipulation.
ALMA BIBOLOTTI // Italian photographer Alma Bibolotti returns to Spectaculum Magazine with The Blue Dream, a series in which fragments of the natural world are transformed into enigmatic, deeply contemplative images. Flowers, shells, algae and feathers retain traces of their physical origins, yet they no longer belong entirely to the real world. Immersed in shades […]
EMY MAIKE // Philippines-born and now based in Germany, photographer and photo artist Emy Maike continues to explore photography as a medium of perception, transformation, and contemplation. Her practice consistently moves between abstraction and observation, using photography to question how we perceive scale, time, materiality, and reality itself. Her latest series, Space Time, continues this […]
MARIIA CHUCHELITE-MAJCHENKO // Mariia Chuchelite-Majchenko doesn’t come from the usual “picked up a camera and fell in love with light” narrative. Her entry point is psychology, which already tells you this isn’t going to be about pretty surfaces or heroic sharpness. Based in Warsaw, she approaches photography less as a tool for description and more […]
WILFRID ROUFF // Wilfrid Rouff is a French photographer and conceptual artist whose work gravitates toward abstraction. Rather than chasing technical perfection, he embraces limitation — often working with simple or unconventional tools, from early digital cameras to his iPhone. What defines Wilfrid’s practice is not control, but his relationship to chance.
