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Julien Palast French photographer Julien Palast SkinDeep conceived his series as “a study of the body objects, ephemeral sculptures of the human form. A snapshot reliefs reminiscent of classical imagery.” The project is based on vivid images of the beauty of the human form created from silhouettes of bodies shrink, exposing the contours and curves of the male and female figures, with vibrant colors.
Julien Palast French photographer Julien Palast SkinDeep conceived his series as “a study of the body objects, ephemeral sculptures of the human form. A snapshot reliefs reminiscent of classical imagery.” The project is based on vivid images of the beauty of the human form created from silhouettes of bodies shrink, exposing the contours and curves of the male and female figures, with vibrant colors.
Julien Palast French photographer Julien Palast SkinDeep conceived his series as “a study of the body objects, ephemeral sculptures of the human form. A snapshot reliefs reminiscent of classical imagery.” The project is based on vivid images of the beauty of the human form created from silhouettes of bodies shrink, exposing the contours and curves of the male and female figures, with vibrant colors.
Julien Palast French photographer Julien Palast SkinDeep conceived his series as “a study of the body objects, ephemeral sculptures of the human form. A snapshot reliefs reminiscent of classical imagery.” The project is based on vivid images of the beauty of the human form created from silhouettes of bodies shrink, exposing the contours and curves of the male and female figures, with vibrant colors.
Julien Palast French photographer Julien Palast SkinDeep conceived his series as “a study of the body objects, ephemeral sculptures of the human form. A snapshot reliefs reminiscent of classical imagery.” The project is based on vivid images of the beauty of the human form created from silhouettes of bodies shrink, exposing the contours and curves of the male and female figures, with vibrant colors.
Julien Palast French photographer Julien Palast SkinDeep conceived his series as “a study of the body objects, ephemeral sculptures of the human form. A snapshot reliefs reminiscent of classical imagery.” The project is based on vivid images of the beauty of the human form created from silhouettes of bodies shrink, exposing the contours and curves of the male and female figures, with vibrant colors.
Julien Palast French photographer Julien Palast SkinDeep conceived his series as “a study of the body objects, ephemeral sculptures of the human form. A snapshot reliefs reminiscent of classical imagery.” The project is based on vivid images of the beauty of the human form created from silhouettes of bodies shrink, exposing the contours and curves of the male and female figures, with vibrant colors.
Julien Palast French photographer Julien Palast SkinDeep conceived his series as “a study of the body objects, ephemeral sculptures of the human form. A snapshot reliefs reminiscent of classical imagery.” The project is based on vivid images of the beauty of the human form created from silhouettes of bodies shrink, exposing the contours and curves of the male and female figures, with vibrant colors.
Julien Palast French photographer Julien Palast SkinDeep conceived his series as “a study of the body objects, ephemeral sculptures of the human form. A snapshot reliefs reminiscent of classical imagery.” The project is based on vivid images of the beauty of the human form created from silhouettes of bodies shrink, exposing the contours and curves of the male and female figures, with vibrant colors.
Julien Palast French photographer Julien Palast SkinDeep conceived his series as “a study of the body objects, ephemeral sculptures of the human form. A snapshot reliefs reminiscent of classical imagery.” The project is based on vivid images of the beauty of the human form created from silhouettes of bodies shrink, exposing the contours and curves of the male and female figures, with vibrant colors.

Julien Palast

French photographer Julien Palast SkinDeep conceived his series as “a study of the body objects, ephemeral sculptures of the human form. A snapshot reliefs reminiscent of classical imagery.” The project is based on vivid images of the beauty of the human form created from silhouettes of bodies shrink, exposing the contours and curves of the male and female figures, with vibrant colors.
13 QUEEN http://www.alexandfelix.com Characteristic for their work is the staging that precedes their actual shooting. Based on divers objects and materials alexandfelix are crafting backdrops for the pictures, creating imaginative, often somewhat absurd and surreal worlds. It is their conscious decision to build their sceneries in real terms and not on a computer screen. Thanks to the realistic backgrounds, the pictures never give the impression of being artificial but look vibrant and playful.
13 QUEEN http://www.alexandfelix.com Characteristic for their work is the staging that precedes their actual shooting. Based on divers objects and materials alexandfelix are crafting backdrops for the pictures, creating imaginative, often somewhat absurd and surreal worlds. It is their conscious decision to build their sceneries in real terms and not on a computer screen. Thanks to the realistic backgrounds, the pictures never give the impression of being artificial but look vibrant and playful.
13 QUEEN http://www.alexandfelix.com Characteristic for their work is the staging that precedes their actual shooting. Based on divers objects and materials alexandfelix are crafting backdrops for the pictures, creating imaginative, often somewhat absurd and surreal worlds. It is their conscious decision to build their sceneries in real terms and not on a computer screen. Thanks to the realistic backgrounds, the pictures never give the impression of being artificial but look vibrant and playful.
13 QUEEN http://www.alexandfelix.com Characteristic for their work is the staging that precedes their actual shooting. Based on divers objects and materials alexandfelix are crafting backdrops for the pictures, creating imaginative, often somewhat absurd and surreal worlds. It is their conscious decision to build their sceneries in real terms and not on a computer screen. Thanks to the realistic backgrounds, the pictures never give the impression of being artificial but look vibrant and playful.
13 QUEEN http://www.alexandfelix.com Characteristic for their work is the staging that precedes their actual shooting. Based on divers objects and materials alexandfelix are crafting backdrops for the pictures, creating imaginative, often somewhat absurd and surreal worlds. It is their conscious decision to build their sceneries in real terms and not on a computer screen. Thanks to the realistic backgrounds, the pictures never give the impression of being artificial but look vibrant and playful.
13 QUEEN http://www.alexandfelix.com Characteristic for their work is the staging that precedes their actual shooting. Based on divers objects and materials alexandfelix are crafting backdrops for the pictures, creating imaginative, often somewhat absurd and surreal worlds. It is their conscious decision to build their sceneries in real terms and not on a computer screen. Thanks to the realistic backgrounds, the pictures never give the impression of being artificial but look vibrant and playful.
13 QUEEN http://www.alexandfelix.com Characteristic for their work is the staging that precedes their actual shooting. Based on divers objects and materials alexandfelix are crafting backdrops for the pictures, creating imaginative, often somewhat absurd and surreal worlds. It is their conscious decision to build their sceneries in real terms and not on a computer screen. Thanks to the realistic backgrounds, the pictures never give the impression of being artificial but look vibrant and playful.
13 QUEEN http://www.alexandfelix.com Characteristic for their work is the staging that precedes their actual shooting. Based on divers objects and materials alexandfelix are crafting backdrops for the pictures, creating imaginative, often somewhat absurd and surreal worlds. It is their conscious decision to build their sceneries in real terms and not on a computer screen. Thanks to the realistic backgrounds, the pictures never give the impression of being artificial but look vibrant and playful.
13 QUEEN http://www.alexandfelix.com Characteristic for their work is the staging that precedes their actual shooting. Based on divers objects and materials alexandfelix are crafting backdrops for the pictures, creating imaginative, often somewhat absurd and surreal worlds. It is their conscious decision to build their sceneries in real terms and not on a computer screen. Thanks to the realistic backgrounds, the pictures never give the impression of being artificial but look vibrant and playful.
13 QUEEN http://www.alexandfelix.com Characteristic for their work is the staging that precedes their actual shooting. Based on divers objects and materials alexandfelix are crafting backdrops for the pictures, creating imaginative, often somewhat absurd and surreal worlds. It is their conscious decision to build their sceneries in real terms and not on a computer screen. Thanks to the realistic backgrounds, the pictures never give the impression of being artificial but look vibrant and playful.

13 QUEEN http://www.alexandfelix.com

Characteristic for their work is the staging that precedes their actual shooting. Based on divers objects and materials alexandfelix are crafting backdrops for the pictures, creating imaginative, often somewhat absurd and surreal worlds. It is their conscious decision to build their sceneries in real terms and not on a computer screen. Thanks to the realistic backgrounds, the pictures never give the impression of being artificial but look vibrant and playful.

Floating series Photographer Andrew Brodhead grew up in Savannah, Georgia, where he worked at his parent’s health food store and as a kid his daily job was to take out the recycling. This is where he recognized how much of the stuff he threw out wasn’t recyclable. He began to think about landfills and where everything goes. In his words: ‘There are islands of plastic taking over the oceans, the earth is suffocating from plastic that never biodegrades and our water and environment are leaching toxic estrogenic compounds.’ With his slightly disturbing ‘Floating Series’, where you can’t help but think of floating corpses wrapped in plastic, he wants to raise awareness for this overwhelming waste we produce everyday. ‘Visually, I want to convey the sacrifice we have made by our consumption and waste. The wrapped bodies represent invasive cocoons floating over vulnerable landscapes’. His pictures leave, despite their fragile beauty, a slightly bitter aftertaste.
Floating series Photographer Andrew Brodhead grew up in Savannah, Georgia, where he worked at his parent’s health food store and as a kid his daily job was to take out the recycling. This is where he recognized how much of the stuff he threw out wasn’t recyclable. He began to think about landfills and where everything goes. In his words: ‘There are islands of plastic taking over the oceans, the earth is suffocating from plastic that never biodegrades and our water and environment are leaching toxic estrogenic compounds.’ With his slightly disturbing ‘Floating Series’, where you can’t help but think of floating corpses wrapped in plastic, he wants to raise awareness for this overwhelming waste we produce everyday. ‘Visually, I want to convey the sacrifice we have made by our consumption and waste. The wrapped bodies represent invasive cocoons floating over vulnerable landscapes’. His pictures leave, despite their fragile beauty, a slightly bitter aftertaste.
Floating series Photographer Andrew Brodhead grew up in Savannah, Georgia, where he worked at his parent’s health food store and as a kid his daily job was to take out the recycling. This is where he recognized how much of the stuff he threw out wasn’t recyclable. He began to think about landfills and where everything goes. In his words: ‘There are islands of plastic taking over the oceans, the earth is suffocating from plastic that never biodegrades and our water and environment are leaching toxic estrogenic compounds.’ With his slightly disturbing ‘Floating Series’, where you can’t help but think of floating corpses wrapped in plastic, he wants to raise awareness for this overwhelming waste we produce everyday. ‘Visually, I want to convey the sacrifice we have made by our consumption and waste. The wrapped bodies represent invasive cocoons floating over vulnerable landscapes’. His pictures leave, despite their fragile beauty, a slightly bitter aftertaste.
Floating series Photographer Andrew Brodhead grew up in Savannah, Georgia, where he worked at his parent’s health food store and as a kid his daily job was to take out the recycling. This is where he recognized how much of the stuff he threw out wasn’t recyclable. He began to think about landfills and where everything goes. In his words: ‘There are islands of plastic taking over the oceans, the earth is suffocating from plastic that never biodegrades and our water and environment are leaching toxic estrogenic compounds.’ With his slightly disturbing ‘Floating Series’, where you can’t help but think of floating corpses wrapped in plastic, he wants to raise awareness for this overwhelming waste we produce everyday. ‘Visually, I want to convey the sacrifice we have made by our consumption and waste. The wrapped bodies represent invasive cocoons floating over vulnerable landscapes’. His pictures leave, despite their fragile beauty, a slightly bitter aftertaste.
Floating series Photographer Andrew Brodhead grew up in Savannah, Georgia, where he worked at his parent’s health food store and as a kid his daily job was to take out the recycling. This is where he recognized how much of the stuff he threw out wasn’t recyclable. He began to think about landfills and where everything goes. In his words: ‘There are islands of plastic taking over the oceans, the earth is suffocating from plastic that never biodegrades and our water and environment are leaching toxic estrogenic compounds.’ With his slightly disturbing ‘Floating Series’, where you can’t help but think of floating corpses wrapped in plastic, he wants to raise awareness for this overwhelming waste we produce everyday. ‘Visually, I want to convey the sacrifice we have made by our consumption and waste. The wrapped bodies represent invasive cocoons floating over vulnerable landscapes’. His pictures leave, despite their fragile beauty, a slightly bitter aftertaste.
Floating series Photographer Andrew Brodhead grew up in Savannah, Georgia, where he worked at his parent’s health food store and as a kid his daily job was to take out the recycling. This is where he recognized how much of the stuff he threw out wasn’t recyclable. He began to think about landfills and where everything goes. In his words: ‘There are islands of plastic taking over the oceans, the earth is suffocating from plastic that never biodegrades and our water and environment are leaching toxic estrogenic compounds.’ With his slightly disturbing ‘Floating Series’, where you can’t help but think of floating corpses wrapped in plastic, he wants to raise awareness for this overwhelming waste we produce everyday. ‘Visually, I want to convey the sacrifice we have made by our consumption and waste. The wrapped bodies represent invasive cocoons floating over vulnerable landscapes’. His pictures leave, despite their fragile beauty, a slightly bitter aftertaste.
Floating series Photographer Andrew Brodhead grew up in Savannah, Georgia, where he worked at his parent’s health food store and as a kid his daily job was to take out the recycling. This is where he recognized how much of the stuff he threw out wasn’t recyclable. He began to think about landfills and where everything goes. In his words: ‘There are islands of plastic taking over the oceans, the earth is suffocating from plastic that never biodegrades and our water and environment are leaching toxic estrogenic compounds.’ With his slightly disturbing ‘Floating Series’, where you can’t help but think of floating corpses wrapped in plastic, he wants to raise awareness for this overwhelming waste we produce everyday. ‘Visually, I want to convey the sacrifice we have made by our consumption and waste. The wrapped bodies represent invasive cocoons floating over vulnerable landscapes’. His pictures leave, despite their fragile beauty, a slightly bitter aftertaste.
Floating series Photographer Andrew Brodhead grew up in Savannah, Georgia, where he worked at his parent’s health food store and as a kid his daily job was to take out the recycling. This is where he recognized how much of the stuff he threw out wasn’t recyclable. He began to think about landfills and where everything goes. In his words: ‘There are islands of plastic taking over the oceans, the earth is suffocating from plastic that never biodegrades and our water and environment are leaching toxic estrogenic compounds.’ With his slightly disturbing ‘Floating Series’, where you can’t help but think of floating corpses wrapped in plastic, he wants to raise awareness for this overwhelming waste we produce everyday. ‘Visually, I want to convey the sacrifice we have made by our consumption and waste. The wrapped bodies represent invasive cocoons floating over vulnerable landscapes’. His pictures leave, despite their fragile beauty, a slightly bitter aftertaste.

Floating series

Photographer Andrew Brodhead grew up in Savannah, Georgia, where he worked at his parent’s health food store and as a kid his daily job was to take out the recycling. This is where he recognized how much of the stuff he threw out wasn’t recyclable.

He began to think about landfills and where everything goes. In his words: ‘There are islands of plastic taking over the oceans, the earth is suffocating from plastic that never biodegrades and our water and environment are leaching toxic estrogenic compounds.’ With his slightly disturbing ‘Floating Series’, where you can’t help but think of floating corpses wrapped in plastic, he wants to raise awareness for this overwhelming waste we produce everyday. ‘Visually, I want to convey the sacrifice we have made by our consumption and waste. The wrapped bodies represent invasive cocoons floating over vulnerable landscapes’. His pictures leave, despite their fragile beauty, a slightly bitter aftertaste.

Bus Stop Living in a big city like Berlin, you rely on the public transport system, where we spend a lot of time waiting. Every few minutes of the day, in every capital all over the world, people gather into small groups to share the same space for some moments. Waiting on bus or train stations, listening to music, reading, observing people, a routine and nothing special, but not for Richard Hooker. In his series ‘Bus Stop’ he painted a society portrait of London’s dizzing diversity, all waiting for the bus to come. Richard spent four years photographing the city’s amazing socio-cultural phenomenon and provides a little insight into how people relate to their surroundings and to each other. It’s a vanishing moment, that will never be repeated and only due to the framing of the camera and after some years, we might see the extra value. It’s about the little moments which happen spontaneously when people meet completely by chance. In his words: ‘In transient, with time to kill, and often amongst strangers, each collection of these individuals proves completely unique from the next. The way people take ownership of the space, how they congregate, is often better than anything an art director or photographer could ever deliberately replicate. These unlikely compositions bare similarity to the humanist scenes depicted by painters from the Renaissance era’ .
Bus Stop Living in a big city like Berlin, you rely on the public transport system, where we spend a lot of time waiting. Every few minutes of the day, in every capital all over the world, people gather into small groups to share the same space for some moments. Waiting on bus or train stations, listening to music, reading, observing people, a routine and nothing special, but not for Richard Hooker. In his series ‘Bus Stop’ he painted a society portrait of London’s dizzing diversity, all waiting for the bus to come. Richard spent four years photographing the city’s amazing socio-cultural phenomenon and provides a little insight into how people relate to their surroundings and to each other. It’s a vanishing moment, that will never be repeated and only due to the framing of the camera and after some years, we might see the extra value. It’s about the little moments which happen spontaneously when people meet completely by chance. In his words: ‘In transient, with time to kill, and often amongst strangers, each collection of these individuals proves completely unique from the next. The way people take ownership of the space, how they congregate, is often better than anything an art director or photographer could ever deliberately replicate. These unlikely compositions bare similarity to the humanist scenes depicted by painters from the Renaissance era’ .
Bus Stop Living in a big city like Berlin, you rely on the public transport system, where we spend a lot of time waiting. Every few minutes of the day, in every capital all over the world, people gather into small groups to share the same space for some moments. Waiting on bus or train stations, listening to music, reading, observing people, a routine and nothing special, but not for Richard Hooker. In his series ‘Bus Stop’ he painted a society portrait of London’s dizzing diversity, all waiting for the bus to come. Richard spent four years photographing the city’s amazing socio-cultural phenomenon and provides a little insight into how people relate to their surroundings and to each other. It’s a vanishing moment, that will never be repeated and only due to the framing of the camera and after some years, we might see the extra value. It’s about the little moments which happen spontaneously when people meet completely by chance. In his words: ‘In transient, with time to kill, and often amongst strangers, each collection of these individuals proves completely unique from the next. The way people take ownership of the space, how they congregate, is often better than anything an art director or photographer could ever deliberately replicate. These unlikely compositions bare similarity to the humanist scenes depicted by painters from the Renaissance era’ .
Bus Stop Living in a big city like Berlin, you rely on the public transport system, where we spend a lot of time waiting. Every few minutes of the day, in every capital all over the world, people gather into small groups to share the same space for some moments. Waiting on bus or train stations, listening to music, reading, observing people, a routine and nothing special, but not for Richard Hooker. In his series ‘Bus Stop’ he painted a society portrait of London’s dizzing diversity, all waiting for the bus to come. Richard spent four years photographing the city’s amazing socio-cultural phenomenon and provides a little insight into how people relate to their surroundings and to each other. It’s a vanishing moment, that will never be repeated and only due to the framing of the camera and after some years, we might see the extra value. It’s about the little moments which happen spontaneously when people meet completely by chance. In his words: ‘In transient, with time to kill, and often amongst strangers, each collection of these individuals proves completely unique from the next. The way people take ownership of the space, how they congregate, is often better than anything an art director or photographer could ever deliberately replicate. These unlikely compositions bare similarity to the humanist scenes depicted by painters from the Renaissance era’ .
Bus Stop Living in a big city like Berlin, you rely on the public transport system, where we spend a lot of time waiting. Every few minutes of the day, in every capital all over the world, people gather into small groups to share the same space for some moments. Waiting on bus or train stations, listening to music, reading, observing people, a routine and nothing special, but not for Richard Hooker. In his series ‘Bus Stop’ he painted a society portrait of London’s dizzing diversity, all waiting for the bus to come. Richard spent four years photographing the city’s amazing socio-cultural phenomenon and provides a little insight into how people relate to their surroundings and to each other. It’s a vanishing moment, that will never be repeated and only due to the framing of the camera and after some years, we might see the extra value. It’s about the little moments which happen spontaneously when people meet completely by chance. In his words: ‘In transient, with time to kill, and often amongst strangers, each collection of these individuals proves completely unique from the next. The way people take ownership of the space, how they congregate, is often better than anything an art director or photographer could ever deliberately replicate. These unlikely compositions bare similarity to the humanist scenes depicted by painters from the Renaissance era’ .

Bus Stop

Living in a big city like Berlin, you rely on the public transport system, where we spend a lot of time waiting. Every few minutes of the day, in every capital all over the world, people gather into small groups to share the same space for some moments. Waiting on bus or train stations, listening to music, reading, observing people, a routine and nothing special, but not for Richard Hooker.

In his series ‘Bus Stop’ he painted a society portrait of London’s dizzing diversity, all waiting for the bus to come. Richard spent four years photographing the city’s amazing socio-cultural phenomenon and provides a little insight into how people relate to their surroundings and to each other. It’s a vanishing moment, that will never be repeated and only due to the framing of the camera and after some years, we might see the extra value. It’s about the little moments which happen spontaneously when people meet completely by chance. In his words: ‘In transient, with time to kill, and often amongst strangers, each collection of these individuals proves completely unique from the next. The way people take ownership of the space, how they congregate, is often better than anything an art director or photographer could ever deliberately replicate. These unlikely compositions bare similarity to the humanist scenes depicted by painters from the Renaissance era’ .